body politics

In his novel The Buddha of Suburbia, Hanif Kureishi associates display with the search for identity. Almost every character in the book struggles to define themselves, whether through the clothes they wear, the books they read, or the politics they support. One way in which Kureishi explores this link between identity and the physical world is through his portrayal of bodies, as characters exhibit different ways the body may be used to shape individuality.

For Jamila, the body is a site of political action. She exercises and trains her muscles through running and karate, "preparing for the guerrilla war she knew would be necessary" (56). Jamila's asserts her body in a way that challenges Haroon's belief that female children are produced by "weak seed" (57), making her father uncomfortable when he sees her on her long runs through the neighbourhood. Physical strength endows Jamila with an agency that allows her to dominate her life and relationships, as she continualy shapes her identity into what she wants it to be. She provokes in Karim the feeling that "she was so powerful ... so in control and certain what to do about everything" (55).

Interestingly, Anwar also uses his body for political purposes, using a completely opposite approach. In an attempt to force his daughter to obey his wishes, Anwar starves himself and deprives his body, proclaiming: "She must do what I say or I will die. She will kill me" (60). His actions, or inactions, provide an extreme example of the power of the body's visibility. As he grows thinner and thinner, Jamila is forced to make the decision to comply to her father's wishes. Without actually doing anything, Anwar is able to exert control, albeit in a way that is ultimately unsuccessful.

Karim provides a mediating example between these two extremes. He recognizes the potential of physical action, and respects Jamila's sense of agency, writing: "Like her I wanted to express myself physically in some way" (60). However, at other times Karim seems content to revel in the world of surface appearances, thrilling in the power of being looked at. He writes: "At that moment I glimpsed myself in a shop window and was pleased with what I saw. I had no job, no education, and no prospects, but I looked pretty good, oh yes" (99). Physical appearance allows Karim to manoeuvre among the world of artists and theatre directors, creating possibilities for him in the world of acting.

Karim's main advantage in the novel is his ability to move in and out of different ways of being. Perhaps gaining knowledge of the different ways bodies shape and can be used to shape one's character is another way in which Karim benefits from the fluidity of his identity, and constitutes a further possibility that may allow him to "live more deeply" in the future (284).