Titlebook: Contemporary Fictions of Multiculturalism; Diversity and the Mi Michael Perfect Book 2014 Palgrave Macmillan, a division of Macmillan Publi

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Multiculturalism and the Work of Hanif Kureishi,tatus, and this has led to a failure to recognise the multiplicity of his writing and to engage fully with its complexities. Moreover, while it is fair to say that until very recently Kureishi’s work was obsessed with London, and while Kureishi has often written about the city’s multicultural charac

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,‘Fold the paper and pass it on’: Andrea Levy’s London Fiction,is also a frequent title on book-club reading lists. While some critical attention was paid to Levy’s work before the publication of ., so phenomenally popular was her fourth novel that critical interest in her early work has increased significantly over the last decade. In 2010 Levy cemented her pl

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,Multicultural London in Zadie Smith’s , (2000): A Celebration of Unpredictability and Uncertainty?,y very positive reviews and sold enormously well. It went on to win the Whitbread First Novel Award, the James Tait Black Memorial Prize, the Guardian First Book Award, the Commonwealth Writers’ Best First Book Prize, the WHSmith Book Award for New Talent and the Betty Trask Award; it was also long-

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,Mis-marketing Multiculturalism? Gautam Malkani’s , (2006),.. After all, like Smith and Ali, Malkani was young, Oxbridge-educated, and his novel — like theirs — promised its readers (indeed, by its very title) an insight into the lives of an ethnic minority community in twenty-first-century multicultural London. Moreover, the community into which it purport

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,London as a Safe Haven? Asylum, Immigration and Missing Fingers in Chris Cleave’s , (2008) and Briareen adaptation of the novel and made offers accordingly; BBC Films eventually acquired the rights and an adaptation may yet surface. In contrast, while . was critically acclaimed and was long-listed for the George Orwell Book Prize 2010, as of February 2014 it has sold just two thousand copies in t

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,London as a ‘Brutal’, ‘Hutious’ City: Stephen Kelman’s , (2011),erary mainstream. Many reviewers were extremely positive about it, and — while a good number suggested that it was somewhat overhyped, and while almost all criticised one particular aspect of its narrative — few were unequivocally negative about Kelman’s debut. Moreover, in contrast to . did not cau

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ty in London. It contributes to key, ongoing debates in literary and cultural studies and, in particular, to debates over the status and relevance of multiculturalism today.978-1-349-45543-0978-1-137-30712-5

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