In between watching the glory that has been the Olympics (can’t say I expected so much Sepia-related content, but hey, awesome) and signing up to be one of the very few (10,000+ish) people to receive my very own VP text from Barack Obama, I came across this great piece in the NYT Magazine about Hanif Kureishi, his career, and his latest novel, Something to Tell You.
The novel is, in brief, about a member of the rebellious British South Asian generation, Jamal, that came of the age during the 80’s, and how he and his now successful peers have to overcome their past conflicts, loves, secrets, and continuing personal challenges as middle-aged parents and professionals. It actually sounds familiar in theme to My Revolutions by Hari Kunzru (a very nice book), except with a South Asian focus, and from the British reviews that have been published, it seems as though it will be a good read. I’ll be looking forward to reading it and the review world seems to see it as an improvement over his previous few novels, which have not been critically well-received. South Asian blog reviews of this novel have already been written, and it is to come out in America on August 19th.
The article highlighted more than his new novel – in particular, it noted how Kureishi’s emergence on the scene during the late 1980’s and his writings, including the screenplay of “My Beautiful Laundrette” and the novel Buddha of Suburbia gave a voice to a generation of South Asians in Britain that felt unrepresented and typecast in British society at 
the time:
The novel and a subsequent BBC mini-series made Kureishi a hero to a generation of British Asians and other nonwhites, a kind of postcolonial Philip Roth who brought to the mainstream themes that were previously relegated as “ethnic” and added lots of sex and humor. “What, above all, made Kureishi a talismanic figure for young Asians was his voice,” the critic Sukhdev Sandhu wrote in The London Review of Books in 2000. “We had previously been mocked for our deference and timidity. Kureishi’s language was a revelation. It was neither meek nor subservient. It wasn’t fake posh. Instead, it was playful and casually knowing.“
Kureishi’s most important role was to knock down the stereotypical image of South Asian immigrants as the hard-working, polite and dutiful members of society who would make nor do no trouble. For a group of immigrants that had historically faced a great deal of discrimination in the U.K., there was finally someone who articulated their true lives and struggles. Perhaps most importantly, the writings were not staid nor politically correct – they showed life as it really was for immigrants and their children:
Sandhu (the critic) recalls how his father — who left India for England in 1965 and worked in a Nestlé factory, and was taunted by local schoolchildren and punks as he walked home with sacks of chapati flour — beat him up after Sandhu insisted that the family watch “My Beautiful Laundrette” on TV. With nudity, gay sex, Pakistani businessmen cheating on their wives and a drug smuggler disguised as a mullah with heroin sewn into his fake beard, the film wasn’t just a wake-up call to white Britain; it also flew in the face of the traditional immigrant narrative. “Why are you showing us such filth?” Sandhu’s father asked him. “My father was right to be appalled,” Sandhu wrote. “The film celebrated precisely those things — irony, youth, family instability, sexual desire — that he most feared.” It taught his father, Sandhu added, “that he could not control the future. And control — over their wives, their children, their finances — was what Asian immigrants like him coveted.”
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