Novelist Hanif Kureishi has reflected on the hope and optimism of his childhood in the 1970s, which he documented in his semi-autobiographical novel, The Buddha of Suburbia. Kureishi, who first gained fame with his screenplay for My Beautiful Laundrette in 1985, laments the lack of hope among young people today. He argues that hope gives people the possibility of achieving their goals, and observes that his own childhood had a strong sense of optimism despite overt racism. Kureishi’s book is being adapted for the stage with theatre director Emma Rice, who suggests that it can offer people the hope and sense of belonging they crave.
The Buddha of Suburbia, which won the Whitbread book of the year award in 1990, tells the story of 17-year-old Karim in the 1970s, who dreams of immersing himself in the possibilities of London. The Royal Shakespeare Company and Wise Children are producing the show, which will be performed in Stratford-upon-Avon. Both Kureishi and Rice are committed to using the original music and fashions of the period, despite potential difficulties of relevance.
Kureishi, who is now 69, and Rice, previously artistic director at Shakespeare’s Globe, have noted the political parallels between the 1970s and Britain today, particularly with a general election looming on the horizon. They also cite the increasing desperation for hope among people in the country. Kureishi himself is adapting to a potentially life-changing injury, sustained when he collapsed and landed on his head on Boxing Day 2022, which has left him unable to use his arms and legs. However, he has been able to collaborate with his sons on his writing, which he dictates for them to edit.
Despite his condition, Kureishi retains a sense of optimism, and speaks of his appreciation in working with Rice. She, in turn, has suggested that their working relationship mirrors some of the familial connections that appear in The Buddha of Suburbia. Acting as both a celebration of the 1970s and a study of identity, the stage adaptation appears set to offer audiences both hope and a new perspective on a turning point in British history
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