• L'amour et la haine ne sont pas si éloignés. Il arrive même qu'on en vienne à aimer ses bourreaux et tourmenter ceux qu'on aime.
    L'interdépendance de ces deux sentiments, la porosité entre désir et destruction sont au coeur de ce recueil de nouvelles et d'essais : qu'il nous conte l'histoire d'un vol aérien qui tourne au cauchemar, la dissolution d'un couple qui se défie dans une dernière course effrénée à travers New York, ou qu'il aborde l'immigration et le racisme, l'imagination et la créativité, Hanif Kureishi nous éblouit une fois encore par sa capacité à scruter avec lucidité les contradictions au sein de la famille, de la politique ou de nos relations sentimentales. Et nous livre un recueil étonnant, où textes de fiction et essais s'enrichissent les uns au contact des autres.

  • Londres, fin des années 70. Karim, dix-sept ans, tiraillé par sa double origine, court après les ennuis, le sexe et la gloire. Entre un père indien et sa british de mère, la communauté paki en mal d'intégration et une famille en mal de repères, il peine à se trouver. Jusqu'au jour où Pa se recycle en gourou New Age, jetant son fils dans la cohue de la vie, le show business et les expériences en tout genre...
    Roman d'éducation up tempo, album de famille loufdingue et chronique sauvage de l'Angleterre métissée : un livre échevelé, irrévérencieux et drôle. Salué par Salman Rushdie.

  • L'air de rien

    Hanif Kureishi

    "Comme à son habitude, Hanif Kureishi explore les travers des relations amoureuses avec une froide précision, un humour spirituel, une compréhension des vérités essentielles.
    ""Le septième roman d'Hanif Kureishi est diaboliquement drôle : du sexe, de la jalousie, un escroc vieillissant, désabusé - il réunit tout cela dans L'Air de rien, une histoire de triangle amoureux, une intrigue digne d'un film noir."" The Times"

  • " Ce soir, la cause est entendue : il ne veut plus de Susan, cette femme "dont il sait presque tout". Après six années de vie commune, quelques mensonges, par bonté, deux fils à élever (trois et cinq ans) qu'il adore, le narrateur, à bout de souffle, prépare son départ, conscient que le désir a déserté la maison. Une dernière nuit à contempler seul cette rupture, à solder pour de bon cette union, consentie pour "nous frustrer et nous punir mutuellement ". [...] Kureishi déroule le drame conjugal dans ce qu'il a de plus prosaïque. Est-il possible de bien vivre ensemble ? Le bonheur ne résulterait-il pas d'un apprentissage ? À ces questions, d'apparence éculée, Kureishi renvoie sa propre expérience, ses espoirs, ses tourments, pour finir sur un contentement désabusé : "L'amour est un sale boulot ; impossible de garder les mains propres.""
    Philippe Savary, Le Matricule des anges

  • Dans la banlieue de Londres, Jamal Khan est un psychiatre réputé. Décryptant l'esprit de ses patients le jour, il explore le soir venu ses propres ténèbres, en refoulant les fantômes de sa mémoire. Pourtant, mieux que quiconque, il sait que personne n'échappe à son passé... Une brillante radiographie de la société anglaise des années 70 à nos jours.
    " Hanif Kureishi est vraiment là à son meilleur. "
    Pierre Assouline, Le Magazine littéraire

    Traduit de l'anglais
    par Florence Cabaret

  • " Le personnage principal de cette aventure qui se déroule à Londres est un jeune Pakistanais résolu à mener à bien des études supérieures. Fan de rock et de littérature, notre héros, prénommé Shahid, est amoureux d'une prof genre gaucho-baba cool. Tout irait pour le mieux si Shahid ne faisait pas la connaissance de ses voisins de chambrée à la cité universitaire : pakistanais comme lui, ils ont de la réalité une autre perception. Musulmans intégristes, ils mènent la lutte sur tous les fronts, persuadés que les hérétiques, comme ils les appellent, entraînent le monde à sa perte. Entre Madonna et Allah, Shahid hésite un moment. [...]Black Album est de fait une formidable plongée au coeur de la comète musulmane intégriste en Grande-Bretagne. Kureishi agit ici en véritable reporter. Extraordinaire observateur, il ne dédaigne pas pour autant manier l'humour et le cynisme sans jamais tomber dans la caricature. "
    Bernard, Géniés, Le Nouvel Observateur

  • Mamoon Azam, écrivain d'origine indienne de renommée mondiale, voit sa notoriété décliner à 70 ans passés. Afin de réactiver l'intérêt pour son oeuvre, Harry Johnson se voit confier la mission de rédiger sa biographie. Un travail qu'il accomplit aux côtés de celui qu'il a toujours admiré et de sa nouvelle épouse italienne, dans leur grande demeure de la campagne anglaise.
    Mais au-delà de l'excitation initiale, l'entreprise se révèle plus qu'ardue. Harry se trouve pris en étau entre les desiderata de Mamoon, soucieux de laisser un témoignage flatteur pour la postérité, et les exigences plus commerciales de son éditeur, en quête de révélations inédites sur la vie privée de l'écrivain.
    Avec humour et causticité, Hanif Kureishi lève le voile sur les coulisses de la création et interroge la façon dont se construit une oeuvre, ce qu'il en reste une fois que l'on a écrit ses derniers mots.

  • « Nul autre que lui ne jette un regard aussi avisé et affûté sur la vie contemporaine. » William Boyd « Kureishi est au meilleur de sa forme, impitoyable dans ces histoires de pères, de fils et de fanatiques. Le ton est franc, souvent sévèrement autocritique, et pourtant empreint d'un certain espoir. [...] Kureishi n'a jamais eu peur des éléments sordides, ratés et ridicules de l'existence humaine. Mais si ses observations sont sans pitié, elles sont très souvent paradoxalement tendres. [...] Les nouvelles de ce recueil exceptionnel sont à lire et à relire. » Helen Dunmore, The Times « Cet écrivain a vraiment du talent. [...] Une humanité et une ironie incroyables dans la construction de ses personnages. » Nicolas Demorand, France Inter

  • Il s'agit du premier recueil de nouvelles d'Hanif Kureishi. Dans l'Angleterre néothatchérienne où la misère sert l'uniformisation générale, les héros de ces dix contes modernes ne rendent jamais les armes. Esquintés, démolis, mais bourrés d'imagination et de drôlerie, qu'ils soient artistes de l'échec ou marginaux déglingués, tous ont en commun un formidable appétit de vivre et le goût violent du désir. Quitte à se faire des bleus ou à passer pour raté à force de refuser l'existence préfabriquée des autres.

  • Gabriel, 15 ans, nouveau héros de Hanif Kureishi, doit s'habituer à sa nouvelle vie. Sa mère vient de jeter à la rue son père, guitariste de la rock star un peu oubliée Lester Jones. Un cadeau que, lors d'une rencontre, la star donne à Gabriel va lui faire prendre conscience de son propre talent. Avec ce roman de formation, Hanif Kureishi, avec tendresse et attention, nous donne une merveilleuse lettre au père.

  • The Black Album is the second novel by Hanif Kureishi, one of the most praised and influential writers of our times. It is set in London in 1989, the year after the second acid-fuelled 'summer of love' - also the year in which the Ayatollah Khomeini pronounced his infamous fatwa upon Salman Rushdie.The Black Album is a portrait of a young Asian man being pulled in conflicting directions: one way by the lure of sexual and hallucinogenic hedonism, another by the austere certitudes of Islam. Shahid Hasan, a clean-cut kid from the provinces, comes to London after the death of his father. He makes his home in a Kilburn bedsit, falls in love with postmodernist college lecturer Deedee Osgood, and soon finds himself passionately embroiled in a spiritual battle between liberalism and fundamentalism.

  • Jamal Khan, a psychoanalyst in his fifties living in London, is haunted by memories of his teens: his first love, Ajita; the exhilaration of sex, drugs and politics; and a brutal act of violence which changed his life for ever. As he and his best friend Henry attempt to make the sometimes painful, sometimes comic transition to their divorced middle age, balancing the conflicts of desire and dignity, Jamal's teenage traumas make a shocking reappearance in his present life. 'A great comic writer and a peerless connoisseur of the human mystery.' Independent 'A novel that describes with such elegant seriousness the fear of ageing, the inanition of pleasure, the survival of love, the longing to understand and be understood.' Sunday Telegraph 'A vital, teeming, panoramic, immersive novel.' Time Out 'There is more that is worth thinking about in Something to Tell You than in the work of almost any other current British novelist.' Evening Standard

  • Winner of the Whitbread First Novel Award'A wonderful novel. I doubt I will read a funnier one, or one with more heart, this year, possibly this decade.' Angela Carter, GuardianThe hero of Hanif Kureishi's first novel is Karim, a dreamy teenager, desperate to escape suburban South London and experience the forbidden fruits which the 1970s seem to offer. When the unlikely opportunity of a life in the theatre announces itself, Karim starts to win the sort of attention he has been craving - albeit with some rude and raucous results.'One of the best comic novels of growing up, and one of the sharpest satires on race relations in this country that I've ever read.' Independent on Sunday'Brilliantly funny. A fresh, anarchic and deliciously unrestrained novel.' Sunday Times'A distinctive and talented voice, blithe, savvy, alive and kicking.' Hermione Lee, Independent

  • The protagonist of Hanif Kureishi's delightful novel is Gabriel, a fifteen-year-old North London schoolboy trying to come to terms with a new life, after the equilibrium of his family home has been shattered by the ousting of his father.Fending for himself, as well as providing emotional support to his confused (and confusing) parents, Gabriel is forced to grow up quickly. The only support he can draw upon is from his remembered twin brother, Archie, and from his own 'gift', which is accompanied by sensations that urge him into areas of life requiring the utmost courage and faith. A chance visit to seventies rock star Lester Jones crystallizes the turbulent emotions inside Gabriel, and helps him to recognize and engage with his gift . . .'A charming, light-textured fable about talent, about how single-minded creativity might embrace and even be buoyed by the heartbreaking muddle of everyday life.' Observer

  • Religion is for the benefit of the masses, not for brain-box types like you. Those simpletons require strict rules for living, otherwise they would still think the earth sits on three fishes. But you mind-wallahs must know it's a lot of balls.An Asian kid from Kent goes to college in London and teams up with a sympathetic group of anti-racists. But it's 1989, the year of the fatwa, and as Shahid begins a hedonistic affair with his lecturer, his radical Muslim friends want to steer him away from the decadence of the West.We're not blasted Christians. We don't turn the other buttock. We will fight for our people who are being tortured anywhere - in Palestine, Afghanistan, Kashmir, East End!Hanif Kureishi's witty stage adaptation of his strikingly prescient and acclaimed novel, The Black Album, humorously considers how the events of 1989 have shaped today's world, where fundamentalism battles liberalism.A co-production with Tara Arts, The Black Album premiered at the National Theatre, London, in July 2009.

  • 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 Islam's 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 Kureishi's ability to capture the temper of the times.

  • The stories in Midnight All Day show a contemporary master at the top of his form, acclaimed by one reviewer for his depiction of 'a lost generation of men: those shaped by the sixties, disoriented by the eighties and bereft of a personal and political map in the nineties'.We are unerring in our choice of lovers, particularly when we require the wrong person. There is an instinct, magnet or aerial which seeks the unsuitable. The wrong person is, of course, right for something - to punish, bully, or humiliate us, let us down, leave us for dead,or, worst of all, give us the impression that they are not inappropriate, but almost right, thus hanging us in love's limbo. Not just anyone can do this.In this astonishing collection of stories, Hanif Kureishi confirms his reputation as Britain's foremost chronicler of the loveless, the lost and the dispossessed. The characters in Midnight All Day are familiar to all of us: frustrated and intoxicated, melancholic and sensitive, yet capable of great cruelty, and, if necessary, willing to break the constraints of an old life to make way for the new.

  • Over the course of the last 12 years, Hanif Kureishi has written short fiction. The stories are, by turns, provocative, erotic, tender, funny and charming as they deal with the complexities of relationships as well as the joys of children.This collection contains his controversial story Weddings and Beheadings, a well as his prophetic My Son the Fanatic, which exposes the religious tensions within the muslim family unit. As with his novels and screenplays, Kureishi has his finger on the pulse of the political tensions in society and how they affect people's everyday lives.

  • Anglais Intimacy

    Kureishi Hanif

    'It is the saddest night, for I am leaving and not coming back.'Jay is leaving his partner and their two sons. As the long night before his departure unfolds he remembers the ups and downs of his relationship with Susan. In an unforgettable, and often pitiless, reflection of their time together he analyses the agonies and the joys of trying to make a life with another person.

  • In Le Weekend, a couple - married for 30 years - spend their wedding anniversary in Paris. However, the romantic city soon becomes a backdrop to their increasingly bitter disputes about the state of their marriage - and their lives.But, as they gradually become part of the rhythm of the city - its cafes and monuments - the tension that has burdened them fades as they re-discover the playfulness and anarchy of their youth.Their melancholy dissolves in a sense of delight in irresponsibility, and gives them a new lease of life

  • Shortlisted for the Bollinger Everyman Wodehouse PrizeMamoon 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.

  • 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 Kureishi's writings from the past 10 years which have have dealt with this subject, charting Islam's disengangemnt from dialogue with the West.The volume also contains a new piece, written especially for this book, which brings Kureishi's analysis of the situation right up to date.

  • Hanif Kureishi's cinematic storytelling embraces a wide spectrum of characters from all classes and nationalities, depicting them with compassion, humour and relish, though never fighting shy of controversy. This volume comprises four of Kureishi's screenplays. My Beautiful Laundrette (1985) Omar is a restless young Asian man, caring for his alcoholic father in the hustling London of the mid-1980s. His uncle, a keen Thatcherite, offers Omar an entrepreneurial opportunity to revamp a dingy laundrette, and ambitious Omar rolls up his sleeves, enlisting the assistance of his old school-friend Johnny, who has since fallen in with a gang of neo-fascists. Omar and Johnny soon form an unlikely alliance that leads to business success, as well as other, more intimate surprises. Sammy and Rosie Get Laid (1987) 1980s London, and Sammy and Rosie share an 'open' marriage, strings of lovers, and a bohemian existence amidst inner-city turmoil. Sammy's father, Rafi, formerly a government minister in India, visits London as racial tensions rise with the death of a woman in a police raid. Rafi offers Sammy financial assistance if the couple will leave their 'war zone' behind them and produce grandchildren. But Rafi's own shady past threatens to haunt him. London Kills Me (1991) A weekend in the lives of homeless Clint and his pal Muffdiver, youthful veterans of the streets of London, whose chief source of income derives from selling drugs to the wealthier denizens of Notting Hill. But what Clint wants more than anything else is a proper job, and he's been promised a position as a waiter in a restaurant - on the condition that he can come up with a pair of 'sensible' shoes. My Son the Fanatic (1997) Parvez is a Pakistani cab driver in a northern industrial town who chauffeurs young prostitute Bettina. Their gentle friendship grows more tender as Parvez's home life starts to crumble, his son Farid embracing a fundamentalist sect of Islam and rejecting his father's values. When Farid then involves himself with a group committed to purging the town of corruption, Parvez is compelled to choose where his loyalties lie.

  • Omar is a restless young Asian man, caring for his alcoholic father in the hustling London of the mid-1980s. His uncle, a keen Thatcherite, offers Omar an entrepreneurial opportunity to revamp a dingy laundrette, and ambitious Omar rolls up his sleeves, enlisting the assistance of his old school-friend Johnny, who has since fallen in with a gang of neo-fascists. Omar and Johnny soon form an unlikely alliance that leads to business success, as well as other, more intimate surprises.

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