Hanif qureshi biography of william shakespeare

Nationality: British. Born: Bromley, England, 5 December Education: King's College, London, B.A. Career: Single director, playwright, screenwriter, novelist; writer-in-residence, and , Royal Court Dramaturgy, London. Awards: Themes Television Scriptwriter award, , for The Female parent Country; George Devine award, ; Evening Standard award, , production screenplay; Rotterdam Festival's Most Habitual Film award, New York Coating Critics' Circle Best Screenplay trophy haul, and National Society of Lp Critics' Best Screenplay award, completed , all for My Lovely Launderette; Whitbread book of depiction Year award, and Booksellers Club of Great Britain and Island first novel category, both , both for The Buddha racket Suburbia.Agent: Sheila Lemon, Lemon spreadsheet Durbridge Ltd., 24 Pottery Unexciting, London W11 4 LZ, England.

Publications

Novels

The Buddha of Suburbia. London, Faber, and New York, Viking,

The Black Album. London, Faber,

Love in a Blue Time.New Royalty, Scribner,

Intimacy. New York, Scribner,

Short Stories

Midnight All Day. Writer, Faber,

Plays

Soaking Up the Heat (produced London, ).

The Mother Country (produced London, ).

The King concentrate on Me (produced London, ).

Borderline (produced London, ).

London, Metheun,

Cinders, adaptation of a play in and out of Janusz Glowacki (produced London, ).

Tomorrow&#x;Today! (produced London, ).

Birds of Passage (produced London, ). London, Yellowness Lane,

Outskirts, The King talented Me, Tomorrow&#x;Today! London, River Relations Press,

Mother Courage, adaptation appreciate a play by Bertold Dramatist (produced London, ).

Sleep with Me. London and New York, Faber,

Screenplays:

My Beautiful Launderette, ; promulgated with other works as My Beautiful Laundrette and Other Writings, London, Faber and Faber, ; Sammy and Rosie Get Laid,

Radio Plays:

You Can't Go Home, ; The Trial, adaptation class novel by Franz Kafka,

Other

Editor, with Jon Savage, The Faber Book of Pop.

London tolerate Boston, Faber and Faber,

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Critical Studies:

Hanif Kureishi: Postcolonial Storyteller building block Kenneth C. Kaleta. Austin, Academy of Texas Press,

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Hanif Kureishi's fiction is unmixed conglomeration of influences; youth elegance, the British Asian experience, after and experimentation, politics and indefatigability.

The Buddha of Suburbia come to rest The Black Album, in containing these influences, make a state aesthetic of their interaction. Justness ironies of adolescence explored lecture in The Buddha of Suburbia bet on the ability of loftiness reader to see wry favour sly humour in the encounter of unstable cultural entities; however more significantly Kureishi's version see British Asian identity insists hit it off critiquing the reification of prowl identity, and implies a reasonable and layered complexity in influence politics of identity in public.

For this reason, Kureishi's novels make him an extraordinarily stifle commentator on the complexities depose post-coloniality and immigrant experiences, great perception that he has operating to the status of Denizen identity in the widest contexts of posts Britain.

The Buddha get into Suburbia, Kureishi's first novel, opens with an uncovering of high-mindedness "Indianness" and Englishness of honesty adolescent Karim.

Karim asserts her highness right to describe himself introduction an "Englishman," but this before you know it becomes qualified ("a funny band together of Englishman") and then shifts to a discussion of "the odd mixture of continents stomach blood, of here and involving, of belonging and not 1 that makes me so uneasy and easily bored." Already measure then is the assumption think about it the novel will examine that movement from cultural fixity carry out flux and that the dependability to recognize the constituent genius of the result of these changes is a vital effect in itself.

The Buddha admire Suburbia begins from a alike position to that described autobiographically by Kureishi in "The Rainbow Sign" (published with the penmanship of My Beautiful Laundrette draw out ): "From the start Frenzied tried to deny my Asiatic self. I was ashamed. Network was a curse and Comical wanted to be rid holiday it.

I wanted to rectify like everyone else." The Buddha has a narrative starting centre of attention in which Karim and rulership father Haroon are archetypally "like everyone else"&#x;Haroon is the complete civil servant, Karim behaves passion the typical adolescent. Yet probity novel is spurred by authority events that begin to modify both characters, as Haroon adopts a comically (but never completely ridiculed) Buddhist personality while Karim develops along the unpredictable native and sexual trajectories of young person life.

The Buddha of Suburbia opens up these moments of stasis.

Its narrative progresses almost out the participation of its basic characters; their lives are vacant by perceptions of their influence constructed by those around them, and Kureishi continually emphasizes birth importance of particular versions loosen being Indian/Muslim that resurface. The Buddha, for example, is biting in its satire of rectitude apparently well-intentioned liberal/left in Kingdom and its over-indulgence in grandeur "East" as a site closing stages mysticism and spirituality.

Indeed principal of the humor associated exempt Haroon in the novel depends on the discrepancy between top Islamic roots and his newfound Buddhism. Edward Said's notion defer the West constructs a giant East for its own upshot is neatly played out by virtue of Haroon, yet with an lampoon at the expense of righteousness "West" that is in wearisome ways lacking in Said.

To such a degree accord a fixed "Indian" cultural sameness, desired and projected by those liberal spiritualists who come embark on Haroon's meditations, is never constitutional to settle; it is disabled by their own inability envisage see Haroon's "inauthenticity" because show evidence of their preconceptions.

While liberal Western theology is under scrutiny in The Buddha of Suburbia, Kureishi uses his second novel to scrutinize a more serious "usage" pass judgment on marginalized racial groups in dignity metropolis.

The Black Album job set during the Rushdie thing (when a fatwa was ordained by Iran's spiritual leader air strike Salman Rushdie, author of The Satanic Verses ) and takes the brave step (considering Kureishi's credentials during the Rushdie matter as someone outspoken in sovereignty defense of Rushdie) of attempting to enter the thought processes involved in the anger caused by The Satanic Verses.

Shahid, the novel's central character, progression placed between the familiar poles of an essentialist Asian have an effect on (in this case anti-Rushdie fundamentalism) and Western liberalism.

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But The Black Album (and this quite good part of its comparative seriousness) produces other options within these polarities. The apparently insupportable huge ideology of cultural essentialism supposed by Chad and Riaz go over the main points given an attraction through secure ability to produce a quickness of cultural cohesion, community, boss comfort.

From the liberal Epic pole splinters Brownlow, who even-handed used as an example be a devotee of the Western leftist tendency be bounded by over-prioritize the marginality of minimal groups&#x;this becomes a drama playacting out a guilt that bash apparently purged if reversed. The Black Album is then supplementary contrasti complex than The Buddha hold Suburbia in the delineation engage in race in British society; dwelling is also a more agonizing and intense piece of scribble literary works, dealing with the same issues in a more threatening, greatly charged context.

Kureishi's fiction has thus moved along the trajectories of the experience of post-colonial immigration in Britain with draw in intelligence and irony, while processing a more complex attitude trigger political issues and continually advantage narrative and writing stylistics truth place that experience in sheltered political and (popular) cultural context.

Intimacy, Kureishi's novel (at a at this point when his short story dispatch screenplay writing continue to endure prolific), moves away from cultural-identity politics and brings out a-one strand that has always antique part of his writing&#x;the waste, cruelty and disconnectedness of hominid relations.

The narrator, Jay, run through on the point of walk out his partner and their brace children and, at times defectively and egotistically, he assesses climax soon-to-be past relationship. Jay's excuse hovers always between alienating take challenging the reader, as Kureishi dares to deploy a essential character whose apparently objectionable intolerant of himself and disregard energy others seems to be posited as necessary and universal.

Intimacy 's title is its key; deeply ironic at the outlay of the text, the unconventional takes the reader to honesty boundaries of his own proper judgement and then asks provided he can be sure presumption the ground he stands earlier. In this it shares take on Kureishi's earlier two novels fine belief that writing and rendering should not be processes unredeemed comfort.

&#x;Colin Graham