Hanif Kureishi

«Mi nombre es Karim Amir y soy inglés de los pies a la cabeza, casi.» Así empieza El buda de los suburbios, la novela que, hace veinticinco años, inauguró triunfalmente la carrera de uno de los escri

Un libro sincero, desgarrador, conmovedor. La escritura como salvavidas. En la Navidad de 2022, mientras pasaba las vacaciones en Roma con su pareja, Isabella, Hanif Kureishi sufrió un desvanecimiento y se desplomo. Al recuperar la consciencia se encontro en el suelo, rodeado de un charco de sangre, y no tardo en descubrir que era incapaz de moverse. Una vez en el hospital, los medicos confirmaron que habia quedado paraplejico. Este libro testimonial que es mucho mas que un libro testimonial esta escrito en forma de despachos de urgencia, o como entradas de un diario dictado durante su estancia en varios hospitales, primero en Roma y despues, ya de vuelta a casa, en Londres.Una escritura fragmentaria, a pedazos, en la que el autor relata su dura realidad diaria, su completa dependencia de los demas, la dificil asimilacion de su nuevo estado, las sesiones de fisioterapia con las que recuperar algo de sensibilidad y movilidad en las extremidades, la relacion con el personal medico, la incipiente amistad con otros pacientes y las tenues esperanzas ante cada pequeño signo de posible mejoria. Kureishi, sin embargo, no se limita a sentar acta de su dia a dia hospitalario, que cuenta sin paños calientes, sino que tambien evoca su infancia, el descubrimiento de la literatura, los primeros trabajos en el mundo del teatro, la fama que le llevo a visitar Hollywood nominado al Oscar por el guion de Mi hermosa lavanderia, sus aventuras sexuales o la amistad con autores como Salman Rushdie.Estas paginas, llenas de jugosas reflexiones sobre el oficio y el sentido de la escritura como acto creativo, se convierten para el en un arma de combate: un modo de asimilar y al mismo tiempo rebelarse contra su situacion. Constituyen un relato testimonial e intimo, pero tambien una nueva muestra de la prosa vivida y visceral de Kureishi, que no rehuye lo carnal y lo escatologico. Un libro sincero, desgarrador, conmovedor. La escritura como salvavidas.

Relatos, textos autobiográficos y ensayos de un Kureishi en plena forma: mordaz, sagaz, vibrante y provocador.Este libro reúne un variado repertorio de piezas breves de Hanif Kureishi: relatos, textos autobiograficos y ensayos. Un buen muestrario del talento narrativo y la punzante mirada del escritor.Entre los primeros: un hombre de negocios viaja en un avion al que se le deniega el permiso para aterrizar y la situacion se complica. Un matrimonio al borde del divorcio se reta a una carrera por la calle. Una mujer paquistani exiliada debe regresar a su pais para enfrentarse a su hijo. Un hombre acompaña a una chica a la salida de una fiesta y descubre que es la hija de un amor de juventud. Y una provocadora distopia: un mundo en el que los ancianos viven mas de ciento treinta años y esclavizan a los jovenes para satisfacer sus caprichos sexuales.En cuanto a los textos autobiograficos, van desde una evocacion de la propia educacion sentimental, sexual y literaria hasta la estafa que Kureishi sufrio a manos de su gestor, que le robo todos los ahorros. Y, por ultimo, los ensayos, sobre temas que van de lo literario a lo sociopolitico: creacion e imaginacion; la maestria literaria de Kafka; el matrimonio en la narrativa, el cine y el teatro; el emigrante en el imaginario europeo y el problema del racismo.En formato breve, Kureishi nos regala la misma intensidad y actitud irreverente que en sus novelas. Una miscelanea imprescindible.

The centrepiece of Hanif Kureishi's brilliant new collection of fiction is a novella that delves into the fascinating concept of personal identity, and the extent to which this is rooted in our physical being. Middle-aged playwright Adam is amazed to be approached by a shadowy organisation and offered the chance to trade in his decrepit body for a much younger model. He takes up the offer for a six-month period, and his consciousness is duly transplanted into the handsome body of his choice. But Adam soon finds that his new flesh brings with it grave and unforeseen dangers...

This is the new novel from Hanif Kureishi: an outrageous, clever and very funny story of sex, lies, art and what defines a life. Mamoon is an eminent Indian-born writer who has made a career in England - but now, in his early 70s, his reputation is fading, sales have dried up, and his new wife has expensive taste. Harry, a young writer, is commissioned to write a biography to revitalise both Mamoon's career and his bank balance. Harry greatly admires Mamoon's work and wants to uncover the truth of the artist's life. Harry's publisher seeks a more naked truth, a salacious tale of sex and scandal that will generate headlines. Meanwhile Mamoon himself is mining a different vein of truth altogether. Harry and Mamoon find themselves in a battle of wills, but which of them will have the last word? The ensuing struggle for dominance raises issues of love and desire, loyalty and betrayal, and the frailties of age versus the recklessness of youth. Hanif Kureishi has created a tale brimming with youthful exuberance, as hilarious as it is touching, where words have the power to forge a world.

Mamoon Azam, écrivain d''origine indienne de renommée mondiale, voit sa notoriété décliner à 70 ans passés. Afin de réactiver l''intérêt pour son ouvre. Harry Johnson se voit confier la mission de ré

Jamal Khan es un psicoanalista de mediana edad, hijo de madre inglesa y padre pakistaní. Está separado de la depresiva Josephine, y es padre de un adolescente. Sus relaciones con las mujeres son poco menos que inexistentes y vive dedicado a su trabajo. Pero un acontecimiento altera su ordenada vida: su mejor amigo Henry, doce años mayor que Jamal y divorciado de una culta aristocrata, se ha liado con Miriam, la exuberante, tatuada y nada culta hermana mayor de Jamal, madre soltera que vive con sus cinco hijos de diferentes padres. Y la revelacion de este amor lanza a Jamal a una crisis existencial. Porque la gozosa relacion de Henry y Miriam abre para el las puertas a los fantasmas del pasado, que siempre vuelven, y al revivir del deseo, que nunca muere... "Una novela estupenda en la que recupera el pulso de sus mejores tiempos y repasa con sentido del humor los escombros de una generacion a la que solo le queda la busqueda del placer" (Sergi Sanchez, El Periodico).

Jamal Khan es un psicoanalista y escritor de mediana edad, hijo de madre inglesa y padre pakistaní. Está separado de la depresiva Josephine, y es un padre cariñoso y atento con su hijo adolescente. Desde hace tiempo sus relaciones con mujeres son poco menos que inexistentes, y vive sosegadamente, dedicado a sus libros y a su trabajo, a ese oficio o arte en el que, como el mismo dice, los secretos son su moneda de cambio, y se gana la vida con ellos. Los secretos del deseo, de lo que la gente mas quiere, y de lo que mas teme. Los secretos de por que el amor puede ser tan dificil, el sexo tan complicado, la vida tan dolorosa, y la muerte tan cercana, aunque solo sea posible vivir ignorandola...Pero un acontecimiento imprevisto altera su ordenada vida cotidiana: su mejor amigo Henry, director de cine y de teatro, doce años mayor que Jamal y divorciado de una culta e influyente señora de la aristocracia, se ha liado con gran entusiasmo con Miriam, la exuberante, tatuada, y nada culta hermana mayor de Jamal, madre soltera y fuerza de la naturaleza, que vive con sus cinco hijos de diferentes padres, y se busca la vida transgrediendo cuanta ley o costumbre se interpone en su camino. Y la revelacion de este amor tan improbable lo lanza a una crisis existencial. Porque la tu

Jamal is a successful psychoanalyst haunted by his first love and a brutal act of violence from which he can never escape. Looking back to their coming of age in the 1970s, he and his friends face an encroaching middle age with the traumas of their youth still unresolved in this colourful and warm novel of London life.

¿Por qué dejamos de amar? ¿Cuando es el momento de preparar las maletas, para salir por la puerta y no regresar nunca? El protagonista de este libro se encuentra en ese trance. La última noche, antes de irse de casa abandonando a su pareja e hijos, desgrana las razones por las que se siente desdichado, y en todo momento tendra en mente las pequeñas miserias de la relacion, la convivencia, los habitos, las desilusiones... una intimidad desnuda de la pareja.

Something to Tell You follows the fortunes of a successful psychoanalyst who, as the book opens, is reflecting on his coming-of-age in 1970s suburbia, on his first love (a relationship that continues to haunt him), and on a brutal act of violence from which he can never escape. The book brilliantly captures that decades sense of sexual freedom, and the exhilaration of the drug culture - as well as the violent struggle between the forces of labour and capital. The events of those years provide a vivid backdrop to the drama that develops thirty years later as the characters face an encroaching middle age with the traumas of their youth still unresolved. Something to Tell You speaks directly to our nations concerns and anxieties, and to our need for love. Like The Buddha of Suburbia, it is full-to-bursting with energy as the characters struggle with desire. At times comic, at times painfully tender, the book is a reflection on the nature of relations between men and women, parents and children. With unfailing deftness of touch Kureishi has created a memorable cast of recognisable individuals, all of whom wrestle with their own limits as human beings, haunted by the past until they find it within themselves to forgive.

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Jay es un escritor y guionista cinematográfico de cuarenta y pocos años. Tiene todo lo que se puede desear a su edad: una carrera exitosa & x02013;ha sido nominado al Oscar por uno de sus guiones

With VENUS, Hanif Kureishi turns his piercing gaze onto the pains of old age. Maurice (Peter OToole) and Ian (Leslie Phillips) are veteran stage actors whose slow, inevitable decline is disrupted by the arrival in their lives of Ians niece Jessie (Jodie Whittaker). While Jessies housekeeping skills make for a bone of contention with Ian, Maurice finds himself attracted to her. Kureishi has crafted a disturbing, wry and profoundly moving swansong for his characters. Also included in this volume is an Introduction by Kureishi in which he describes the inspiration he drew from the Japanese master Tanizaki.

Over the past 10 years Hanif Kureishi has charted the gradual widening of the gulf between fundamentalist Islam and Western values. Starting with THE BLACK ALBUM, Kureishi portrayed the ongoing argument between Islam and Western liberal values, between Islamic certainty and Western rational scepticism. By the time he was writing the short sotry, MY SON THE FANATIC, the break was complete - there was no longer any attempt by the fundmentalists to find any common ground with Western culture.The outbreak of the Iraq war and its aftermath, plus the recent bombings in London, have stimulated Kureishi to write further about this great divide between the East and the West, and this volume collects Kureishis writings from the past 10 years which have have dealt with this subject, charting Islams disengangemnt from dialogue with the West.The volume also contains a new piece, written especially for this book, which brings Kureishis analysis of the situation right up to date.

I was beginning to love my thief, a man I barely knew, but whom I had trusted and even liked, and who had taken my savings, amongst many other crimes. A bravura piece of very personal reportage by Hanif Kureishi about the man who stole his life savings.Nearing sixty and needing to plan for his and his childrens future, Hanif Kureishi employed an accountant from a reputable firm. When the accountant recommended investing in a property scheme, Kureishi followed his advice - only to find out that the accountant was a fraudster and his entire life savings had vanished.In this thought-provoking account of his conman, Kureishi uses this theft as a way of exploring some of the contradictions and dilemmas of our lives: the true value of money; the role of deception in art; how you can love and hate simultaneously; why the financial world seems to revolve around deceit; and what we might recover from those who have stolen from us.

Im going to tell him to pick up his prayer mat and get out of my house.When Parvezs son Ali starts clearing out his bedroom, Parvez assumes hes taking drugs and selling his possessions to pay for them. His fellow taxi drivers are triumphant: they knew something was wrong. Bettina, the prostitute Parvez regularly drives home, tells him what signs to look out for.But nothing is physically different about Ali except that he is growing a beard - and praying five times a day. He condemns his father for drinking alcohol and eating bacon, and assures him that the Law of Islam will rule the world.First published in March 1994, Hanif Kureishis comedy of assimilation is both uproariously funny and so prescient its barely funny at all.

Hanif Kureishis literary memoir explores his relationship with his father, a failed writer. Kurieshi is, of course, hugely successful...EsquireThis is an ambitious book. Kureshi - free-associating with what feels like unmitigated honesty - successfully conveys the impression that in this book he has actually given us himself.Sunday TimesDeeply involving, highly intelligent and, in what it doesnt say rather than what it does, profoundly sad.Evening StandardI dont think he has done anything as good, in any medium, as this moving and fiercely honest book.Guardian

This collection begins in the early 1980s with The Rainbow Sign, which was written as the Introduction to the screenplay of My Beautiful Laundrette. It allowed Kureishi to expand upon the issues raised by the film : race, class, sexuality - issues that were provoked by his childhood and family situation. In the ensuing decades, he has developed these initial ideas, especially as the issue of Islams relation to the West has become one of the burning issues of the time.Kureishi shows how flexible a form the essay can be - as intellectual as Sontag or Adam Phillips, as informal and casual as Max Beerbohm, as cool and minimalist as Joan Didion, or as provocative as Norman Mailer. As with his fictional work, these essays display Kureishis ability to capture the temper of the times.