Hanif Kureishi’s semi-fictionalized account of London focuses on the search for true identity and belonging — for home. Through his diverse characters, Kureishi shows the struggle Londoners face in seeking fulfillment and happiness. For centuries, London had existed as a homogenous, primarily white city. However, with the rise in immigration came the subsequent increase in discrimination and isolation. The Buddha of Suburbia emphasizes the complexities of London suburban and urban life. Kureishi rendered both as multicultural areas with a myriad of backgrounds and identities. This pushed back on whitewashed stereotypes which misrepresented reality. Kureishi depicts a very “real” London in The Buddha of Suburbia, discussing taboo topics that were oftentimes ignored and brushed over. His representation of London brings to light subjects such as sexuality, drug use, mental illness, greed, and alienation. He paints London as messy, as multilayered and multidimensional. This revealed that London was not as prim and proper as other forms of literature and media may make it out to be. 

Kureishi reshaped the landscape of Britain with his novel, showcasing the necessity of analyzing and understanding the coexistence of different ethnic, political, and social identities. For some Londoners, an ideal city would perhaps remain uniform and unvaried; immigrants would assimilate as immaculately as possible. But Kureishi’s novel dismantles this notion. Karim, the novel’s young protagonist, faces an immense challenge in reconciling the duality of his identity. In the very beginning of the novel, he remarks, “I am often considered to be a funny kind of Englishman, a new breed as it were, having emerged from two old histories...Perhaps it is the odd mixture of continents and blood, of here and there, of belonging and not, that makes me restless and easily bored” (1). Later, he says, “The thing was, we were supposed to be English but to the English we were always w--s and n--s and P--s and the rest of it” (53). Kureishi’s characterization of Karim creates a fascinating reputation for London and its treatment of its immigrant population. The “new breed” which Karim mentions refers to the number of multicultural children in London who come from immigrant families but who grow up in Britain. People like Karim must grapple with their identities, as they don’t quite fit in anywhere. They desperately seek a sense of community, but never entirely find it. From a young age, Karim attempts to make himself as English as possible to fit in. He believes that this is the only way to find some semblance of success and acceptance. But the onslaught of racial slurs he endures shows that no matter what he does, he will never be fully welcomed. 

The Buddha of Suburbia explores the implications of London’s history as a colonizing country and demonstrates how this history defines its reputation. Various white characters in the novel seek to exercise control over the narratives of people of color. Karim’s family friend Jamila is taught in school that she should hide the “ethnic” parts of her identity. Jamila believes that her teacher “wanted to eradicate everything that was foreign in her” and colonize her (53). Jamila resists her teacher’s attempts through the strength of her will. By displaying the prejudices embedded in the education system, Kureishi creates an image of London as intolerant and insular. White characters in the novel also tend to fetishize the East without actually educating themselves on its cultures. For instance, Haroon’s Indian heritage is exoticized while he performs at dinner parties in their suburb. At one party, the men and women comment, “‘He’s going to give us a demonstration of the mystic arts!’ ‘And has he got his camel parked outside?’ ‘No, he came on a magic carpet’” (12). These remarks are inherently racist, and they show how out of touch British suburbanites are. Haroon’s performances lump all Eastern religions and philosophies together, and it’s clear that his audience members don’t care about truly respecting and understanding these cultures. 

Before leaving the suburbs, Karim romanticizes London’s metropolis in his head. He imagines the city as a place where he can finally belong. He dreams about finding others who will appreciate him and empathize with him: “There were kids dressed in velvet cloaks who lived free lives; there were thousands of black people everywhere, so I wouldn’t feel exposed” (121). However, once Karim arrives in London to be an actor, his identity is manipulated. As Mowgli in Jungle Book, Karim is instructed to use a racist Indian accent. He’s costumed in blackface and a loincloth. This again reflects the exoticism of Eastern cultures. It also displays the narrow-mindedness which some Londoners possess, as many don’t question the director’s problematic decisions. Kureishi’s portrayal of Karim’s experiences points to the necessity of tolerance and sensitivity. The suppression of Karim’s identity prevents him from expressing himself and from actualizing the full extent of his potential. He is instead cast as a caricature of Eastern cultures. 

Kureishi displays the disparities in London and its deeply rooted stratification. London is described as a “house with five thousand rooms, all different” and all disconnected. Within West Kensington, “peeling stucco houses” are occupied by foreign students, itinerants, and poor people (126). In contrast, nearby Kensington is expensive and luxurious, while Earls Court is filled with “baby-faced male and female whores” who argue and fight (127). These stark differences create a reputation of London as a jigsaw puzzle of sorts, but one that doesn’t necessarily fit together neatly. Although these areas exist nearby, they are wildly distinct in terms of their socioeconomic and racial makeup. As a result, London as a whole is hard to define. There is not one “London” identity. Instead, it’s a fragmented amalgamation of backgrounds and stories. It houses a great diversity of people from all walks of life. In a way, the fragmentation of the city makes it easy for the wealthy to ignore the plight of the less fortunate and continue living their lavish lives in blissful ignorance. 

An atmosphere of superficiality permeates London in the novel, resulting in a reputation for the real city which is entrenched in capitalism and emotional constipation. As a teenager, Karim dreams of escaping dullness, of experiencing a richness of emotion unlike the rest of the “miserable undead” he sees around him (10). Karim is aware of the dangers of capitalism, of the way it robs people of their souls and their purpose: “It was greed our materialism celebrated, greed and status, not the being and texture of things” (42). However, he loses sight of his “wild hopes” as he pursues money and success through his acting career and through his determination to make it in London (68). Later in the novel, Changez presents a damning observation of Londoners: “You don’t have romantic love in the West anymore. You just sing about it on the radio. No one really loves, here” (223). Karim echoes Changez when he questions, “What passion or desire or hunger did they have as they lounged in their London living rooms?” (225).  Kureishi’s commentary points to a sense of sterility in British society. British society is shown to be rampant with shallowness and greed while devoid of true passion. This creates a depressing image of London where nobody genuinely loves and nobody possesses a zest for life. 

As a whole, Kureishi’s portrayal of the city and suburbs of London creates a negative reputation. The Buddha of Suburbia constantly reminds the reader of the racism and colonialism that haunts London. It calls into question how Britain can move forward as a tolerant, diverse nation.