Hanif Kureishi 1954-
British dramatist, novelist, screenwriter, essayist, and short story writer.
The following entry presents an overview of Kureishi's career through 1999. For further information on his life and works, see CLC, Volume 64.
With the critical success of his screenplay for My Beautiful Laundrette (1986), Hanif Kureishi emerged as a provocative young chronicler of xenophobia, sexuality, and urban adolescent angst in contemporary Britain. His multi-genre creations—including films, novels, short stories, and plays—are largely informed by his own experiences as an English-born Briton of Pakistani descent. Drawing attention to the problem of racial prejudice and cultural displacement among non-white Asians in modern England, Kureishi's darkly comic critiques of postcolonial British society illustrate the confluence and conflicts of ethnicity, sexuality, religion, and class. With London's hedonistic drug and music subculture as a recurring milieu, Kureishi's fiction and films are permeated with references to pop culture trends, fashions, movies, and music, as well as other literary and cultural markers. His multicultural perspective and casts of disparate, unconventional characters underscore the sociopolitical biases and personal ambiguities that shape one's identity in the modern Western world.
Kureishi was born on December 5, 1954 (some sources say 1956), in the London suburb of Bromley. His Pakistani father, a clerk and political journalist, arrived in England from Pakistan to attend college, and subsequently met Kureishi's white, English mother. During the 1950s and 1960s, England received its first great influx of black and Asian immigrants, and at school Kureishi experienced a backlash of racism from some of the native English. As a teenager, he found an outlet for his emotions in fiction, writing four unpublished novels. He went on to study philosophy at King's College, London. As an apprentice in London theaters, Kureishi spent his time devising plays and, to supplement his income, writing pornography for magazines (under the pseudonym Antonia French). His first play, Soaking Up the Heat (1976), was produced at London's Theatre Upstairs, followed by The Mother Country (1980) at Riverside Studios, for which Kureishi received the Thames Television Playwright award. Kureishi was appointed a writer in residence at the Royal Court Theatre, which produced his play Borderline (1981). During a 1985 trip to Pakistan to visit relatives, Kureishi not only gained insight into Pakistani culture and the experiences of Pakistani immigrants, but also came to accept the English aspect of his identity. The following year My Beautiful Laundrette premiered. Directed by Stephen Frears, the movie was originally made for British television and later released for the theater. Kureishi received several major awards for his contribution, including a Best Screenplay Award from the New York Film Critics Circle and an Academy Award nomination. Kureishi and Frears continued their partnership with Sammy and Rosie Get Laid (1987), before Kureishi took over the directorial duties himself to make London Kills Me (1991), a film based on his screenplay. In between these film productions, Kureishi published his first novel, The Buddha of Suburbia (1990), which received a Whitbread Book of the Year Award. He has since written two additional novels and two collections of short stories, and co-edited The Faber Book of Pop (1995).
Kureishi's preoccupation with issues such as race, class, and sexuality pervade his plays, motion pictures, and fiction. For his early play Borderline, Kureishi conducted research in the Southall area of London, interviewing Indian and Pakistani immigrants. The drama looks at the situation of these immigrants in post-imperial Britain, examining the conflicts between both immigrants and the native population and immigrants and their Westernized children. The drama Outskirts (1981) focuses on the lives of two former school friends, Del and Bob. As teenagers, they assaulted an Asian immigrant, an incident that still haunts Del, who has since become a teacher. Bob is unemployed and his prejudices lead him toward the racist National Front. Kureishi's screenplay for My Beautiful Laundrette is similar to a drama in its construction. The film's story explores cross-generational tensions within immigrant families, racial violence, and unemployment in Britain under the conservative prime minister Margaret Thatcher. The film's protagonist, Omar, is the son of a Pakistani immigrant who was once a respected journalist in his home country but is now an unemployed alcoholic in Thatcherite Britain. Although his father wants him to attend college, Omar accepts a job with his capitalistic uncle Nasser, who has him take over a failing laundromat, or laundrette. Using stolen drug money to finance the project, Omar renovates the laundrette with the aid of Johnny, a punk who forsakes his friends for the work and love offered by Omar. In addition to its frank portrayal of homosexuality, the film also candidly depicts Nasser's adulterous relationship and the promiscuity of Nasser's independent-minded daughter. Kureishi's next screenplay, Sammy and Rosie Get Laid, describes the events that occur after Rafi Rahman, a corrupt Pakistani political figure, arrives in London to live with his son, Sammy, an accountant who resides in the racially violent area of Brixton with his wife, Rosie, an English social worker. The author's third script, London Kills Me, considers the world of homelessness and drugs in late twentieth-century London through the experiences of Clint, a squatter who must find a pair of stylish shoes to get a job as a waiter. The script was subsequently published along with the screenplays for My Beautiful Laundrette and Sammy and Rosie Get Laid and introductory essays for each. Another screenplay, My Son the Fanatic (1997), was turned into a film by director Udayan Prasad. The film's story depicts the life of a Pakistani-immigrant cab driver whose son becomes attracted to Islamic fundamentalism. Kureishi's largely autobiographical first novel, The Buddha of Suburbia, focuses on Karim Amir, the son of an Indian immigrant in Britain. Karim leaves the boredom of his school days in Kent to join the acting worlds of 1970s London and New York. Karim's father, a civil servant, exaggerates his Indian mannerisms when he takes on the role of spiritual leader in his neighborhood. Similarly, Karim invents an Indian past for himself to achieve success as an actor. The novel The Black Album (1995) takes its name from an album by American pop musician Prince, who titled his album in reference to the Beatles record known as “The White Album.” The story's protagonist, Shahid Hasan, a new student at a college in London, finds himself divided between the cultures represented by his black Muslim friends and his white liberal lover, a cultural-studies lecturer at the college. The novel Intimacy (1998), is narrated by Jay, a screenwriter who decides to leave his partner and children for another woman. Love in a Blue Time (1997), Kureishi's first collection of short stories, considers not only the author's usual concerns, such as the conflict between cultures, but also the effect of aging on ambition. With his second short-story collection, Midnight All Day (1999), Kureishi took up issues involving emotional relationships, as he did in Intimacy. Kureishi has also served as co-editor, with Jon Savage, of The Faber Book of Pop, an anthology of essays, reviews, and interviews that chronicles the evolution of pop music from the 1950s to present.
Kureishi is well regarded for his perceptive examinations of race, class, and sexuality in postcolonial Britain. His award-winning screenplay for My Beautiful Laundrette was both a critical and popular success, and established his international reputation. While Indian and Pakistani groups rebuked the film for its unflattering representation of their communities, critics lauded the movie for its unflinching portrayal of the lives of immigrants in London as well as for offering complex portraits of its characters. Kureishi's subsequent films, however, have not received the same level of recognition. Sammy and Rosie Get Laid was commended for its depiction of interracial relationships, but faulted for an overly ambitious combination of dramatic and political intentions. London Kills Me, Kureishi's directorial debut, was generally dismissed as a series of unfocused character studies and music montages. My Son the Fanatic, in contrast, received praise for its consideration of race relations and its presentation of the inner life of its cab-driver protagonist. Kureishi has received a similar mixed response to his novels and short stories. While appreciated for its multicultural perspective and satire, Kureishi's fiction has been faulted as superficially concerned with pop culture and gratuitous in its depictions of sexual debauchery and unredeeming nihilism. While some critics faulted The Buddha of Suburbia for its failure to treat its several controversial issues successfully, other reviewers commended the novel for its account of the young protagonist's experiences and its depiction of a racially mixed family. Kureishi did not fare as well, however, with the critics of his next two novels. The Black Album was found to be more like a play than a novel and deficient in its ambitious consideration of race and Muslim fundamentalism. The reaction to his overtly autobiographical novel Intimacy was even more hostile, with some critics accusing Kureishi of misogyny and even railing against him for abandoning his children during his real-life breakup. Other critics, however, regarded the novel as an elegant and complex study of love's disintegration. Although Kureishi's short-story collections have not created an impact comparable to his work in other genres, Love in a Blue Time received approval for its exploration of aging and Midnight All Day earned praise for its treatment of emotional ties. In contrast, his editorial contribution to The Faber Book of Pop met with unfavorable reaction, criticized by reviewers as being disorganized and overly long. While the critical and popular enthusiasm that surrounded the debut of My Beautiful Laundrette has yet to be duplicated by the author's other writings, Kureishi has consistently provided a unique perspective on the physical and emotional circumstances of individuals on the fringes of contemporary British society.
Soaking Up the Heat (drama) 1976
The King and Me (drama) 1980
The Mother Country (drama) 1980
Borderline (drama) 1981
Cinders [adapted from a play by Janusz Glowacki] (drama) 1981
Outskirts (drama) 1981
Tomorrow—Today! (drama) 1981
Birds of Passage (novel) 1983
Outskirts, The King and Me, Tomorrow—Today! (drama) 1983
Mother Courage [adapted from a play by Bertolt Brecht] (drama) 1984
My Beautiful Laundrette (screenplay) 1986
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SOURCE: “Getting by on Charm: A Young Anglo-Indian in 1970s London,” in Chicago Tribune Books, April 29, 1990, p. 6.
[In the following review, Idema describes The Buddha of Suburbia as a “polemical novel … whose trenchant views on racial injustice and class antagonisms impart outrage. …”]
This crowded, picaresque first novel about the adventures of a young Anglo-Indian in the mean streets of London during the 1970s, where “the spirit of the age among the people I knew manifested itself as general drift and idleness,” may put you in mind of the movies My Beautiful Laundrette and Sammy and Rosie Get Laid, because Hanif Kureishi,...
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SOURCE: “A Dead Teenage Genius and Others,” in The Spectator, May 12, 1990, pp. 38-9.
[In the following negative review of The Buddha of Suburbia, Clark describes Kureishi as “a man with a sense of adventure that extends little further than experimentation in metropolitan sex and drugs.”]
After writing one homosexual screenplay, My Beautiful Launderette, and one heterosexual screenplay, Sammy and Rosie Get Laid, it was a fair guess that Hanif Kureishi was going to turn the hero of his first novel into a raving bisexual. Mr Kureishi is a man with a sense of adventure that extends little further than experimentation in metropolitan sex and...
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SOURCE: “E Pluribus England,” in Los Angeles Times Book Review, June 3, 1990, pp. 3, 10.
[In the following review of The Buddha of Suburbia, Eder commends Kureishi's Third World perspective, although finds weakness in the later sections of the novel.]
“My name is Karim Amir, and I am an Englishman born and bred, almost.”
It is a start worthy of Dickens; one of those bagpipe sentences whose skirl heralds the book to come, and whose bumpy drone nourishes it as it goes along. The Buddha of Suburbia is London subverted—notice that “almost”—by reality.
There is London as idea: St. Paul’s, sweet Thames, the...
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SOURCE: “Gland Illusion,” in The Nation, July 9, 1990, pp. 63-4.
[In the following review of The Buddha of Suburbia, Jiménez finds shortcomings in the novel's empty hedonism and unconvincing resolution.]
Karim Amir is squeezing a favorite penis (not his own) to Pink Floyd’s “Ummagumma.” He’s 17. In order to squeeze so, he’s forgone a dreaded chess club meeting and gone out with his father, Haroon, for a karmic night around town. Karim is no Janis Ian inventing lovers on the phone. As he will tell you, he’s from suburbia, South London, and going somewhere—to the real London, the asterisk, the inevitable tour of duty, and then, who knows?...
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SOURCE: A review of The Buddha of Suburbia, in World Literature Today, Vol. 65, No. 2, Spring, 1991, p. 370.
[In the following mixed review, Rahman finds The Buddha of Suburbia “somewhat tedious to read,” but commends the author's realistic portrayal of the characters' “blighted lives.”]
Hanif Kureishi is well known for such compassionate plays on race relations as Birds of Passage (1983) and My Beautiful Laundrette (1986). The Buddha of Suburbia is his first novel, and though it features Asians living in England, it does not focus upon race relations except in passing. The main theme now is the confusion of values and...
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SOURCE: “The Sound of Silence,” in New Statesman & Society, December 13, 1991, pp. 30-1.
[In the following negative review, Romney asserts that London Kills Me “falls because it has precious little to say about characters who have precious little to say.”]
Hanif Kureishi’s London Kills Me is not a pop film as such, although you might expect it to be. The published script is accompanied by a eulogy to the Beatles, in which Kureishi is at pains to stress pop’s status as “the richest cultural form in postwar Britain”, and to locate writing in relation to that form: “It is pop that has spoken of ordinary experience with far more...
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SOURCE: A review of London Kills Me, in World Literature Today, Vol. 66, No. 4, Autumn, 1992, p. 724.
[Below, Dasenbrock gives a mixed assessment of London Kills Me and Kureishi's writing in general.]
London Kills Me is a collection of three screenplays and four essays by one of the most visible young “Black British” writers, Hanif Kureishi. These include the screenplays of the two well-known films Kureishi wrote for Stephen Frears, My Beautiful Laundrette and Rosie and Sammy Get Laid, as well as the screenplay of the new film Kureishi directed himself which gives the volume its title. Each screenplay is introduced by a related...
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SOURCE: “Mirrorshades,” in New Statesman & Society, March 3, 1995, pp. 40-1.
[In the following review, Saynor offers tempered praise for The Black Album, finding shortcomings in Kureishi's lack of vision.]
According to Milan Kundera, “human life is bounded by two chasms: fanaticism on one side, absolute scepticism on the other”. For Hanif Kureishi, though, these giant goal-markers can be surprisingly close together. The protagonist of The Black Album, Kureishi’s second novel, is partly an insolent cynic, in common with most of the author’s young male heroes. But he’s also partly in thrall to hardline Islam—just at the moment when...
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SOURCE: “A Passion of a Vegetable Fashion,” in The Spectator, March 11, 1995, p. 33.
[In the following review, Horspool offers an unfavorable assessment of The Black Album, citing Kureishi's “talent for caricature” as weak.]
Shahid, the young hero of Hanif Kureishi’s second novel, spends most of his time trying to make his mind up. But the oddest choice he has to face is between his lecturer-lover and a sacred aubergine, which has been written on by Allah (‘it’s me or the enchanted eggplant’, as she puts it).
Kureishi, the author of The Buddha of Suburbia and three screenplays, can apparently put anything (like the...
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SOURCE: “Low Fidelity,” in New Statesman & Society, May 12, 1995, p. 37.
[In the following review of The Faber Book of Pop, Thomson claims, “there is gold here, but also much that doesn't glitter at all.”]
Rave novelist Irvine Welsh is reportedly unhappy at his acceptance by the literati. Hanif Kureishi would surely applaud it—indeed, would see it as inevitable. For he regards pop journalism in all its myriad forms as part of the literary continuum. In his introduction to The Faber Book of Pop. Kureishi dismisses Tom Wolfe’s 1989 “literary manifesto for the new social novel”, declaring pop journalism, biography, the “non-fiction...
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SOURCE: “Never Mind the Width, Feel the Lack of Quality,” in The Spectator, May 13, 1995, pp. 44-5.
[In the following review, Bywater offers a negative assessment of pop music and The Faber Book of Pop.]
Those who can’t, no longer teach, but go into journalism, where the great thing is to natter and scratch like hens. Scratch, scratch, scratch. That’s why journalists love the pop industry: plenty of surface. Scratch it away and, look!, more surface, and it changes every day. Pop is surface all the way down. The musical toolbag contains only surface instruments—rhythmic thud, punch, whine and whop—and the emotions, too, are superficial: easily dissembled,...
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The Economist (review date 15 July 1995)
SOURCE: “Talking 'bout My Generation,” in The Economist, July 15, 1995, p. 67.
[In the following review, the critic discusses the portrayal of pop music in The Faber Book of Pop.]
Pop music “is the wonder of post-war British and American culture”, says Hanif Kureishi in The Faber Book of Pop. It is not as bold a claim as it seems. The development of pop music (broadly defined) into a global phenomenon is a cause for wonder. It is now almost impossible to avoid, hard as some try. It has infiltrated everything from films and television to the shopping mall, the airport, the corporate PR...
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SOURCE: “Literature vs. Piety on the Streets of London,” in Chicago Tribune Books, October 22, 1995, p. 5.
[In the following review, Fields offers tempered praise for The Black Album, which she considers less well-written than The Buddha of Suburbia.]
Hanif Kureishi has said of his new novel, The Black Album, that it is the first expression, in fiction, of support for Salman Rushdie, whose career as a writer is literally a matter of life and death. Kureishi has set his novel in 1989, the year of the fatwa, the death sentence imposed on Rushdie by the Iranian theocracy as his punishment for having written what it considers—in the face of all contrary...
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SOURCE: “Loves and Zealots,” in Washington Post Book World, November 12, 1995, p. 8.
[In the following review, Drabelle offers a positive assessment of The Black Album, although he notes weakness in its “creaky structure.”]
The title of Hanif Kureishi’s speedy second novel, which takes place in London just after the fatwa has come down against Salman Rushdie (1989), refers to a work by the Artist Still Happily Known as Prince. Shahid Hasan, the Pakistani-English protagonist, is a Prince fan, dope fan, sex fan, anything but college fan, though his primary occupation is supposed to be studying.
Contrary to stereotype, Shahid...
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SOURCE: A review of The Black Album, in World Literature Today, Vol. 70, No. 2, Spring, 1996, pp. 405-6.
[In the following review, King offers a favorable assessment of The Black Album, but finds that it is weakened by Kureishi's tendency toward triteness.]
Hanif Kureishi’s latest portrait of post-swinging London is set in 1989, the year of the publication of Rushdie’s Satanic Verses. The liberations of the sixties, the ideologies of the seventies, massive immigration, and Thatcherite economics have resulted in acid raves, slavish followers of any anti-Western slogan, universities in which no one reads, sex without love, disappointed feminists,...
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SOURCE: “White Men Behaving Badly,” in Times Literary Supplement, December 6, 1996, p. 28.
[In the following excerpt, Bowen offers an unfavorable assessment of The Faber Book of Pop.]
The culture of rock music is a notoriously excessive affair. Anthologies are one way of capturing some of its monstrosity, and in these two fat collections, culled from a half-century or so of writing about rock and pop, we encounter, among other things, Elvis’s 19,000 drug prescriptions in two and a half years, Ike Turner’s thirteen wives (and innumerable affairs and one-night stands), and countless trashed hotel rooms and wrecked lives, to say nothing of such curiosities as Lou...
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SOURCE: “Eighties Vanities,” in Times Literary Supplement, March 28, 1997, p. 20.
[In the following review of Love in a Blue Time, O'Brien commends Kureishi's perspective and observations, but finds shortcomings in his underdeveloped plots and characters.]
Love in a Blue Time is described by its publishers as concerned with “the difficult, serious business of love—and hate”, but it might be more accurate to say that the book’s main subjects are underachievement, distraction and the afterlife of youth. Love, for which sex appears a synonym, is an arena in which these conditions are indulged and suffered. Two brief stories, “We’re Not...
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SOURCE: “‘No Secrets Were Safe from Me’: Situating Hanif Kureishi,” in Massachusetts Review, Vol. XXXVIII, No. 1, Spring, 1997, pp. 119-35.
[In the following essay, Weber examines aspects of ethnicity, cultural identity, and literary practice in Kureishi's fiction and films, particularly in relation to American ethnic writers such as Jewish-American author Philip Roth.]
I want to begin this essay, which seeks to situate the contemporary Pakistani-British novelist/filmmaker Hanif Kureishi in relation to American ethnic expression, with two striking, provocative exchanges. The first is by the distinguished socialist scholar (and editor of the important journal...
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SOURCE: “Into the Blue,” in The Spectator, May 10, 1997, pp. 36-7.
[In the following review, Page offers a generally positive assessment of Love in a Blue Time, but finds shortcomings in Kureishi's tendency toward caricature.]
As any closet romantic will tell you, falling out of love can be an even grander experience than falling into it, as well as, of course, a more permanent one. The revelations of disenchantment and ways of surviving it form the basis of Hanif Kureishi’s latest outing—a collection of bawdy and often indulgent short stories. The opening tale, ‘In the Blue’, sets the tone with the betrayals of a 22-year-old, by now perfunctory,...
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SOURCE: “Hanif Kureishi Makes an Excursion into Short Fiction,” in Chicago Tribune Books, December 28, 1997, p. 3.
[In the following review, Ulin offers an overall unfavorable assessment of Love in a Blue Time, despite “the success of some pieces.”]
Since the mid-1980s, Hanif Kureishi has chronicled the life of modern London in a variety of media, alternating among fiction, screenplays and stage plays with apparent ease. First recognized for his film My Beautiful Laundrette, in which the dual specters of British racism and homophobia were given a very human—and, at times, unsettlingly personal—face, Kureishi writes about a society transformed...
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SOURCE: “Kureishi's Storytelling: Liquid Windows,” in Hanif Kureishi: Postcolonial Storyteller, University of Texas Press, 1998, pp. 240-57.
[In the following essay, Kaleta provides an overview of the central themes, social and cultural concerns, and artistic techniques in Kureishi's fiction and films.]
Popular response to Kureishi has not yet moved beyond initially reacting to his work with hyphenated cultural descriptors. After more than a decade, however, critical response to Kureishi appears to be moving toward an expanded perspective. He neither accepts nor acknowledges making cultural descriptors into literary criticism. Kureishi has not only survived his...
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SOURCE: A review of Love in a Blue Time, in World Literature Today, Vol. 72, No. 2, Spring, 1998, pp. 371-2.
[In the following review, King gives a favorable assessment of Love in a Blue Time.]
Written over the past decade, the six short stories of Love in a Blue Time, all republished from magazines, are a pleasant surprise. Their conciseness compresses desire, indulgence, and subsequent frustrations into a few dreamlike yet highly colloquial pages. Everything appears to happen at once, in the present, with no time for reflection. An effective technique is the sudden, unannounced, unprepared shift into the mind of someone on drugs or having sex, or into...
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SOURCE: “Diet Fiction,” in New York, March 15, 1999, pp. 59-60.
[In the following review, Kirn finds that Intimacy achieves only a “handsome tedium.”]
Size matters in fiction, but so does lack of size. Everything else being equal, fat novels tend to be perceived as serious, very thin ones as more honest, more real. Writers address these age-old expectations by filling their big books with philosophy and cramming their little ones with feeling. Lately, it’s the massive efforts that have gotten more attention, but that may be changing. Witness two new miniatures published by the same company, Scribners, and promoted for their supposed authenticity. Sized...
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SOURCE: “Buddha Leaves Suburbia,” in The Nation, April 19, 1999, pp. 38-40.
[Below, Proctor reviews Kureishi's career up to Intimacy.]
If you adored Catherine Texier’s Breakup last year, fell to the floor gushing sympathetic tears for the abandoned raconteur and raised your fists with indignant empathy over the cruelty of love’s death, then you’ll probably be just as content to steer clear of Intimacy, Hanif Kureishi’s fourth work of fiction. If, however, you found Texier’s blitzkrieg of grief indulgent, if you wearied by page ten of the unnuanced voice of victimization, if you wondered when it stopped taking two to tango, “if you, too,...
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SOURCE: “Buddy Flicks,” in New York, July 12, 1999, pp. 49-50.
[In the following review, Rainer gives a brief plot summary of My Son the Fanatic.]
Parvez (Om Puri), the middle-aged Pakistani cabdriver in the marvelous My Son the Fanatic, moved to the industrial north of England 25 years ago with his wife, Minoo (Gopi Desai), and, against the evidence of his eyes, still sees his adopted country as a fabled and pleasant place. He’s a naïf who has internalized the rewards of Empire far more than have the native English. When his only child, Farid (Akbar Kurtha), who still lives at home, drops his white fiancée, forsakes his possessions, and becomes an...
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SOURCE: “A Daughter, a Father,” in The New Republic, August 9, 1999, p. 30.
[In the following review, Kauffmann examines Parvez, the central character of My Son the Fanatic.]
Belatedly, a welcome to My Son the Fanatic (Miramax). It was written by Hanif Kureishi, author of My Beautiful Laundrette and Sammy and Rosie Get Laid, and was directed by Udayan Prasad, Indian-born but raised in England, whose second feature it is. I’ve not seen his first, Brothers in Trouble, but Om Puri, who was in it, plays the leading role in the new picture.
Here Puri is Parvez, Pakistani-born, who has spent twenty-five years as a taxi...
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SOURCE: “Hanif Kureishi on London,” in Critical Quarterly, Vol. 41, No. 3, Autumn, 1999, pp. 37-56.
[In the following interview, Kureishi discusses racial and cultural issues in contemporary London, his background and experiences in London, and the creative processes behind his fiction and films.]
[MacCabe:] Good evening, I’m Colin MacCabe, Chairman of the London Consortium, which, together with the Architectural Association, has organised this conference on London as a post-colonial city, to which Hanif Kureishi’s season of films and particularly tonight’s conversation are a curtain-raiser. Kureishi’s work has almost all been set in London and...
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SOURCE: “Umbrella Rage,” in Times Literary Supplement, November 12, 1999, p. 24.
[In the following review, Baker offers a generally positive assessment of Midnight All Day.]
“What could be more beguiling than other people’s stymied desire?” asks the narrator in one of these ten short stories [in Midnight All Day], bitterly sure that the tale of his romantic misfortunes is going to do the rounds among his friends. Stymied desire is the constant factor in the collection, which circles relentlessly around non-communication; toxic relationships and the bloody-mindedness of other people.
Frustration piles up excruciatingly, in “Strangers...
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