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S. Naipaul, p. 44, p. 47. â•‡ 14 Ahmad, In Theory, p. 111; Salgado, ‘V. S. Naipaul and the Politics of Fiction’, p. 314. â•‡ 15 As cited in Cudjoe, V. S. Naipaul, p. 225. â•‡ 16 Krishnan, ‘Midnight’s Children: An Un-Indian Book About All Things Indian’, p. 51, p. 53. â•‡ 17 Mahanta, ‘Allegories of the Indian Experience’, p. 244. â•‡ 18 Webb, ‘Salman Rushdie: Satanic Verses’, p. 87. Morey, ‘Salman Rushdie and the English Tradition’. â•‡ 19 See, for example, Brennan, Salman Rushdie, p. 150; Gorra, After Empire, p.
4 Such an anecdote draws attention to what good literary critics already take for granted, particularly in terms of ethnic authors for whom the burden of representation is great: a literary work, however ‘realist’, is not the real world. Yet how Kureishi imagines his world is central to his identity as a British Asian author. His vision of London, and of the communities that inhabit it, has become the scaffolding for an ideological perspective that infuses his fiction. Being British Asian: Kureishi’s posed/post-ethnicity For Mark Stein, Kureishi’s novels fall into two groups, identified respectively as ‘posed-ethnic’ and ‘post-ethnic’.
187–8. 102 Naipaul, ‘Tell Me’, p. 60. , pp. 93–4. 104 Naipaul, Half a Life, p. 52. 105 Naipaul, Magic Seeds, p. 194, p. 200, pp. 222–3, p. 279. 106 Allen, ‘A Postcolonial World’, p. 149. 107 Huggan, Postcolonial Exotic, pp. 94–104. 108 Kureishi, Buddha, p. 3. 109 Mustafa, V. S. Naipaul, p. 27. For an overview of Naipaul’s antiIslamic sentiment see Kapur, ‘A Million Neuroses’, and Wheatcroft, ‘A Terrifying Honesty’. Although the Satanic Verses affair was driven by accusations of Orientalism, recent Rushdie criticism renews this claim: see Sawhney and Sawhney, ‘Reading Rushdie after September 11, 2001’.