Book Review: Something to Tell You by Hanif Kureishi - Page 2

Something to Tell You just ends, one feels, when Kureishi tires of writing, without any real denouement or sense of motion for the reader. Unfortunately, and despite the clear interest that Kureishi takes in conveying the decadence of London between the '70s and the '90s, most readers will tire of Jamal’s paralysis and voyeuristic recount long before that point. Which is a shame, because Kureishi certainly has a way with words and there are times when the narrative voice is actually powerful, such as in the opening page: “I’m into a place where language can’t go, or where it stops – the ‘indescribable’.

Unfortunately, in this novel, little is shown and almost everything is described, in such superficial, tedious details, that the reader never develops empathy. There are a whole range of topics raised that could have been explored: sexual abuse; sexual freedom versus repression; migration and return; how we come to terms with the past, but all of these are unexplored in any depth, and certainly sit at the outside of Jamal’s naval gazing, which mostly focuses on his organ size, and why he can’t commit to anything. Read Something to Tell You as a kind of fictionalized memoir or social commentary of the cultural events of West London as it moves through the '70s to the present day, and it will be reasonably amusing, especially if it brings back any personal memories. But try to read it as a cohesive piece of fiction, and the endless first person self-references of the narrator simply aren’t enough to make this novel work.

Article Author: Maggie Ball

Magdalena Ball runs The Compulsive Reader. She is the author of the novels Black Cow and Sleep Before Evening, the poetry books Repulsion Thrust and Quark Soup, a nonfiction book The Art of Assessment, and, in collaboration with Carolyn Howard-Johnson, …

Visit Maggie Ball's author page — Maggie Ball's Blog