本論文視哈尼夫‧古雷希的首二部長篇小說《郊野佛陀》和《黑色唱片》為後殖民文本，認為它們再現了黑人/亞裔英國人掙扎求存於後殖民倫敦的政治與詩學。古雷希批判了白人對黑人/亞裔英國人的壓迫與內部殖民，並再現了黑人/亞裔英國人內部在七、八零年代對本身的文化政治的反省與批判。他的立場面對來自兩方面的壓力：一方面是白人掌控的英國國族論述，另一方面則是黑人/亞裔族群的保守勢力。不過，其強大的批判火力終究足以鬆動這兩股勢力，進而重新定義英國屬性和黑人屬性。
論文第一章嘗試勾勒出二十世紀(尤其是五零年代以後)英國黑人/亞裔移民的社會與歷史，以便更能深入了解古雷希小說的現實背景。我認為殖民時期的許多宰制手段仍舊被英國當權者用來壓迫黑人/亞裔族群，而後殖民時期的倫敦則成了一個新的帝國。在此脈絡之下，本論文所謂的「後殖民」指涉的不只是殖民統治結束之後的時空，同時亦指涉了繼續反抗殖民和第二次去殖民的必要性。此外，本章亦嘗試為古雷希定位，視他為土生土長於英國並認同自己是英國人的新一代黑人/亞裔英國作家。
第二章討論《郊野佛陀》再現的第一代移民及其後代在英國社會所面對的種族與階級問題，闡述了主角卡林‧阿米爾如何認識並接受其多重身份。我認為，在黑人/亞裔英國人的身份認同問題上，對主體身份的創造性翻譯是最可行的解決之道。身份認同的創造性翻譯因而是後殖民倫敦的生存政治與詩學。
第三章將《黑色唱片》置於一九八九年爆發的拉什迪《魔鬼詩篇》事件的脈絡裡，闡述了古雷希與拉什迪、《黑色唱片》與《魔鬼詩篇》的關係，以及該事件所引發的身份認同問題。古雷希的小說強力批判了黑人/亞裔族群中伊斯蘭基本教義派嘗試打造純粹伊斯蘭身份的企圖，認為這是不可能的任務。相對於狹隘的基本教義，文學具有深廣的包容性，足以涵蓋現實裡複雜、不確定的因素，更能闡釋並消解後殖民多重身份的焦慮。透過對基本教義派的批判與對文學的闡揚，古雷希表達了他對拉什迪的支持與敬意。
在結論部份，我討論了《郊野佛陀》和《黑色唱片》對英國國族論述與黑人/亞裔文化論述的介入。古雷希的小說是七、八零年代以來英國黑人/亞裔族群從單一認同轉變到多元認同的一部份，它們同時重新定義了英國屬性與黑人/亞裔屬性。

This thesis reads Kureishi’s The Buddha of Suburbia and The Black Album in the context of postcolonial literature and sees them as a representation of the politics and poetics of survival in postcolonial London. Kureishi struggles against any kind of domination on two fronts: the first one is the white-dominated British national discourse, and the second one is the black cultural discourse. His double-edged interventions in these related discourses in effect have redefined the so-called Englishness as well as Blackness.
The introductory chapter illustrates the social and historical background of Kureishi’s fiction. It is necessary to understand the history of black immigration in Britain after the dismantling of British Empire in order to capture the significance of Kureishi’s novels. I argue that colonial practices have been re-imposed upon black peoples in Britain, and London is a new empire within Britain (to appropriate Salman Rushdie’s notion). In this conception, the postcolonial refers to the time after the end of formal colonialism on the one hand, and the need for a second decolonization of the imperialist residues in the British society on the other. I also try to position Hanif Kureishi in the English literary field, regarding him as representing the new generation of black writers who were born and bred in Britain and who identify themselves as British as well as black.
The second chapter, which discusses The Buddha of Suburbia, examines the race and class issues the first and second generations of the Asian immigrants face with and their attitudes toward these issues, and how the protagonist Karim Amir comes to recognize his multiple identity. My argument is that, it is in creative translation that a black Briton with Pakistani roots can really live through the racial and class hostilities. Creative translation, therefore, is a politics and poetics of survival in postcolonial London.
Chapter 3 reads The Black Album in the context of the Rushdie Affair exploded in 1989. Kureishi’s novel sharply critiques the Muslim fundamentalists’ project to forge a pure Islamic identity. Instead of submitting to the repressive dogmas of fundamentalism, Kureishi celebrates literature as a path to live through the complexity and uncertainty of lived reality. In this way, he has expressed his strong solidarity with Salman Rushdie. It is only in embracing uncertainties that a postcolonial subject can really come to terms with the postcolonial multiple identity.
My conclusion is that, with The Buddha of Suburbia and The Black Album, Kureishi has intervened into the British national discourse and the black British cultural discourse at the same time. Kureishi’s fiction is a part of the cultural products that has shifted the black British cultural politics from what Stuart Hall has called Identity Politics One, which constructs the black as a singular category, to a new phase which celebrates “new ethnicities, multiple identities.” Kureishi also contests against the notion of Englishness, arguing that the black is also a part of the British. Therefore, as a whole, Kureishi’s fiction has redefined Blackness and Englishness.

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