36 Karachi

Chapters in this book

1. Front Matter i
2. Dedication v
3. Contents vii
4. Plates x
5. Family tree xii
6. Works by Hanif Kureishi xiv
7. Preface xvi
8. Note on the text xxxi
9. I Origins 1
10. 1 Audrey 2
11. 2 Shanoo 8
12. 3 Boyhood 25
13. 4 School days 38
14. 5 Bromley Technical High School 42
15. 6 David Goatley 54
16. 7 Made in suburbia 59
17. 8 James Baldwin 67
18. 9 E.R. Braithwaite and ‘Run Hard Black Man’ 71
19. 10 Rafiushan Kureishi, The Nation of Pakistan 78
20. 11 Uncle Omo 84
21. 12 ‘A turning point’ 86
22. 13 The tribe of Kureishi 90
23. 14 Family fractures 95
24. 15 College years with Julia Cutmore 98
25. II Plays, 1973–1983 107
26. 16 University of Lancaster 108
27. 17 Whitehall Road, again 115
28. 18 King’s College London 119
29. 19 The Royal Court 124
30. 20 Paul Holub and philosophy at King’s 129
31. 21 King’s Road and the Bromley Contingent 134
32. 22 Sally Whitman and friends 139
33. 23 Punk libertarianism 145
34. 24 Leaving King’s 151
35. 25 ‘A room of one’s own’ 156
36. 26 Riverside Studios 159
37. 27 Soho Poly Theatre 163
38. 28 Postcolonial rancour 166
39. 29 Salman Rushdie 173
40. 30 Max Stafford-Clark 177
41. 31 Outskirts and Tomorrow-Today! 180
42. 32 Borderline 188
43. 33 The politics of race 202
44. 34 Birds of Passage 207
45. 35 New directions 211
46. III Films, 1984–1988 213
47. 36 Karachi 214
48. 37 Return to London 230
49. 38 The genesis of My Beautiful Laundrette 236
50. 39 Stephen Frears 241
51. 40 Developing and filming My Beautiful Laundrette 245
52. 41 Robert McCrum 257
53. 42 Success 260
54. 43 America 268
55. 44 Writing and filming Sammy and Rosie Get Laid 278
56. 45 Tracey Scoffield 290
57. 46 A new politics of representation 298
58. IV Becoming a novelist, 1986–1991 305
59. 47 Journalism and short stories 306
60. 48 ‘The Buddha of Suburbia’ 312
61. 49 Deborah Rogers 319
62. 50 Defining his project 322
63. 51 ‘Baby Girl’ 326
64. 52 ‘England’s a nice place if you’re rich, but otherwise it’s a fucking swamp of prejudice, class confusion . . .’ 331
65. 53 Hanif and Karim 336
66. 54 Collaborations 342
67. 55 ‘The first crow . . . flying across the sky’ 348
68. 56 ‘Esther’, London Kills Me and ‘Associations’ 361
69. 57 The reception of The Buddha of Suburbia 374
70. 58 Filming London Kills Me 390
71. V Fathers and sons, 1991–1998 399
72. 59 Aftermath 400
73. 60 ‘Mysteries of London’ 406
74. 61 The Black Album 409
75. 62 Without Shanoo 433
76. 63 Adam Phillips 438
77. 64 The TV adaptation of The Buddha of Suburbia 442
78. 65 Class of 1993 452
79. 66 The Faber Book of Pop 456
80. 67 Becoming a father 460
81. 68 ‘My Son the Fanatic’ 466
82. 69 My Son the Fanatic 469
83. VI Private lives, new beginnings, 1995–2001 479
84. 70 Monique Proudlove 480
85. 71 Love in a Blue Time 485
86. 72 Intimacy 503
87. 73 New beginnings 522
88. 74 Sleep With Me 531
89. 75 Kier Raphael Proudlove Kureishi 537
90. 76 Fresh shoots 542
91. 77 Gabriel’s Gift 547
92. 78 ‘Goodbye Mother’ 553
93. 79 Filming Intimacy 556
94. VII The turn inwards 561
95. 80 9/11 562
96. 81 Dreaming and Scheming 566
97. 82 The Body and Other Stories 571
98. 83 The Mother 584
99. 84 New collaborations 594
100. 85 When the Night Begins 598
101. 86 My Ear at His Heart 600
102. 87 Venus 622
103. 88 The Word and the Bomb and ‘Weddings and Beheadings’ 633
104. 89 For God and the Empire 641
105. 90 Something to Tell You 645
106. 91 The Black Album 662
107. VIII Love and hate, 2008–2014 667
108. 92 Family affairs 668
109. 93 Kingston University and creative writing courses 673
110. 94 John Cheever and Collected Stories 678
111. 95 Istancool Liberatum Festival, Pinter Prize and Jaipur 685
112. 96 The right fork 688
113. 97 Adam Woricker 691
114. 98 Karachi Literary Festival 695
115. 99 Le Week-end 702
116. 100 Reading, writing and life-writing in a post-literary culture 711
117. 101 Creative writing courses, again 729
118. 102 Approaching sixty 734
119. 103 ‘It really was the end of something, for all of us’ 739
120. 104 Love+Hate 741
121. 105 ‘To Sir, With Love’ 749
122. IX Late style 757
123. 106 ‘If Their Lips Weren’t Sealed by Fear’ 758
124. 107 The Nothing 760
125. 108 What Happened? and ‘This is the End’ 771
126. Afterword 786
127. Postscript 794
128. Acknowledgements 797
129. Notes 799
130. Index 859
131. Plates 876