Biography

Writing

In Aboulela’s fiction, we witness how an engagement with colonial history can help to make sense of the present, particularly the often-fraught relationship between Islam and the West. River Spirit (2023) and The Kindness of Enemies (2015) are historical fictions that explore the evolution of the term jihad before and after colonization to illustrate the West’s changing perspectives on Islam, shaped by the specifics of conflicts in Sudan, Russia, and Afghanistan. The works consider the possibility of fostering meaningful dialogue between these two old adversaries through the experiences of Muslim women. Aboulela positions her female Muslim protagonists in Aberdeen, Khartoum, and London as they tell stories of love, migration, terrorism, jihad, loss, and war. Characters like Sammar in The Translator, Najwa in Minaret, or Salma in Bird Summons, struggle to develop a bond with their adopted homes due to the rise in Islamophobia in Britain. However, their eventual success in finding love and home through faith even while living in a secular environment, suggests the difficulty of sustaining a distinct secular-religious binary.

Aboulela’s fiction does not shy away from religious themes. The presence of Islam in her work lays down a challenge to postcolonial theorists who privilege categories of race, gender, class, and empire in their analyses of literary texts, and overlook the impact of religion in colonial history. The post-secular aesthetic of her work, and her engagement with various versions of history, especially in the representation of Muslim women, have made her writing both controversial and compelling. She is one of a number of modern writers for whom faith and fiction are intertwined, comparable in this sense to Catholic writers like Muriel Spark, Graham Greene, Evelyn Waugh, Anthony Burgess and Flannery O’Connor. Aboulela’s characters do not adhere to strictly orthodox interpretations of Islam, however. For Aboulela, sharia is “something personal […] something you would follow yourself. It does not need anyone else to implement it” (Aboulela 2009, 97). Faith is central to Najwa’s life and identity in Minaret, even if she does not always adhere to the tenets of her religion. During her difficult and occasionally traumatic sexual relationship with Anwar, it is faith that helps her: “I reached out for something new. I reached out for spiritual pleasures […]. Sometimes the tears ran down my face. I sweated and felt a burning along my skin, in my chest. This was the scrub I needed” (Aboulela, 2005, 243, 247). Islam does not give answers to all of Najwa’s questions, but it does provide her with a sense of solace and peace.

Aboulela also demonstrates through her work that Islam has been hijacked by corrupt postcolonial governments and extreme right-wing groups who have reduced its complexity to a reductive religious ideology. By contrast, a more nuanced understanding of Islam can ultimately lead to the demise of despotic rulers and egotistical Imams, as Sammar, the protagonist of The Translator, points out to Rae:

‘One hadith that says, “The best Jihad is when a person speaks the truth before a tyrant ruler.” It is not often quoted and we never did it at school. I would have remembered it.’ 

‘With the kind of dictatorship with which most Muslim countries are ruled’, he said, ‘it is unlikely that such a hadith would make its way into the school curriculum’                                                                                                             

‘But we should know. . .’ (Aboulela, 1999, 105)

In her interview with Sadia Zulfiqar, Aboulela discusses in detail her creative process, what inspires her as a writer, and how the historic love-hate relationship between Islam and the West is portrayed in her work. Aboulela emphasises that ‘women’s interior lives matter, and they know that it matters. The text gives them the space to explore, to move at their own pace, to zigzag back and forth. It is not necessary to leave the world of Islam to achieve this—the tradition is rich, and the geography is limitless’. As the interview shows, Aboulela’s work also contributes in important ways to a better understanding of the Western gaze as it is cast onto North Africa, in particular, and to debates about how we might decolonise the curriculum. Informed by her early reading of Frantz Fanon and Edward Said, as well as the work of fellow Sudanese author Tayeb Salih, she has carved out a path distinguished by a subtle engagement with the daily lives of Muslim women, both at home and abroad, whom she portrays in all their richness and complexity.

—Sadia Zulfiqar, 2024

Cite this: Zulfiqar, Sadia. “Leila Aboulela .” Postcolonial Writers Make Worlds, 2024, https://writersmakeworlds.com/leila-aboulela. Accessed 12 April 2026.

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Biography

Writing

Diran Adebayo, photographed by Lawrence Watson for his exhibition, In Darkness, Light, 2016 (image © Lawrence Watson)

Adebayo’s 1996 debut novel Some Kind of Black was heralded as signalling the rise of a new generation of Black British authors whose work was simultaneously self-critical and critical of the society in which it was incubated. The novel portrays a fictional alter-ego of the author in a shadowy coming-of-age tale set in the protagonist’s sex and drugs-fuelled youth in Oxford and London. Zadie Smith has praised Adebayo’s work for its self-aware portrayal of the flawed human condition, while other critics have suggested that it does not go far enough to interrogate the tensions between different Black British identities that the novel raises at its outset. Adebayo’s work is crucially influenced by black-on-black gang violence and racial politics. Some Kind of Black won the inaugural SAGA prize, the Writers Guild of Great Britain’s New Writer of the Year Award, a Betty Trask Award, and The Authors’ Club’s ‘Best First Novel’ award. It was long-listed for the Booker Prize and has since become a Virago Modern Classic.

His second novel My Once Upon a Time traces an ambiguously named detective, Boy, as he seeks out an abstract concept (love) for a mysterious client. This novel deploys magical realist techniques to explore black masculinity and relationships. Adebayo’s more recent work as an essayist concentrates on providing social commentary on race in Britain and he is also currently writing a sport-accented memoir.

—Chelsea Haith, 2019

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2019, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Monica Ali in 2011. Photo: Mon.Ali.1967 (CC BY-SA 4.0)

Besides Brick Lane, Monica Ali’s major works include the novels Alentejo Blue (2006), In the Kitchen (2009), and Untold Story (2011). In each of these works, she turns to a different social context to explore themes of domesticity, immigration, multicultural (dis)integration, linguistic difference, and cultural alienation.

Brick Lane is largely set amongst the eponymous Bangladeshi community in East London and shadows Nazneen, a young woman who has followed her UK-based husband from Bangladesh after an arranged marriage. Alentejo Blue, by contrast, slips effortlessly into a village in the south of Portugal, and tracks the lives and perspectives of an ensemble of characters through an inventive reformulation of the novel into a ‘novel-in-stories.’ Its form shapeshifts between a loosely clipped-together set of short stories and a novel whose membranes stretch between the characters’ interlinked worlds.

In the Kitchen stages a return to multicultural London, retracing the footsteps of Brick Lane, in some ways, but also looks at a broader sweep of characters to de-centre ideas about what constitutes contemporary British culture and identity. Set in a restaurant in central London, the novel manipulates the key metaphor of the kitchen to foreground the contours of this new Britain as a melting pot of flavours—one that simmers its discontents to the surface as frequently as it melds together despite differences. Ali sets up a spectrum of characters whose attitudes range from nostalgia for a bygone, ‘authentic’ Britain, to identification with the changing fabric of social life formed of robust new immigrant communities and movements. In so doing, she offers a carefully distilled meditation on ‘Britishness’ and cultural transition.

Ali’s most recent novel, Untold Story, edges into the realm of speculative fiction, albeit of a wholly unexpected kind. Ali imagines an alternative future for a character inspired by the life of Diana, Princess of Wales (1961-1997), who manages to escape the tragic fate of her real-life counterpart.

A preoccupation with the impact of interpersonal relationships, gender identity, and political change cuts across Ali’s versatile literary output. Women and their tense, constrained relationships with men and the larger world figure as important strands in her narratives, as does a fascination with language and its diverse idiomatic uses across different geographical spaces. Ultimately, as Ali has stated in a 2013 interview, ‘issues of identity, of what constitutes “self,” of belonging and not belonging’ are the pivotal questions which drive her work.

—C. S. Bhagya, 2021

Cite this: Bhagya, C. S. “[scf-post-title].” Postcolonial Writers Make Worlds, 2021, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Nadeem Aslam, Grand Openings, Oct. 21, 2008, by kinikkin reims (CC BY-NC-ND 2.0) via Flickr

Nadeem Aslam has spent the bulk of his writing life producing fiction and prefers to maintain a distance from non-fiction’s disconcerting tendency to reveal the authorial self. His published works have touched upon a wide array of topics, from honour killings and religious schisms in the global Muslim community, to the Soviet invasion of Afghanistan during the Cold War and 9/11.

His debut novel Season of the Rainbirds (1993) offers an intimate portrayal of a Pakistani community torn apart by the discovery of a murder. Aslam examines how such local tragedy intersects with wider political trends, with catastrophic results for the people involved. The emphasis on connections between local and global history is typical of Aslam’s oeuvre, especially so in The Wasted Vigil (2008), which traces the roots of 9/11 to the 1979–89 Soviet-Afghan war. His novels are informed by an acute awareness of the intertwining of seemingly disconnected histories – of both people and places – in an increasingly globalizing world. Within his works, this consciousness manifests in the form of a richly diverse cast of characters, of varying geopolitical origins and religious temperaments.

In their exploration of Islam, his novels draw upon its religious history and multiple aesthetic traditions, anatomizing the different ways in which it is practised globally – especially in Pakistan, Afghanistan and Britain. Aslam’s writing is particularly invested in revealing the violent misogynist underpinnings of the more conservative aspects of Islam: this forms the crux of his second novel Maps for Lost Lovers (2004), and his Granta short story Leila in the Wilderness (2010). He returns to his home country in his last two novels, The Blind Man’s Garden (2013) and The Golden Legend (2017).

Aslam’s novels are penned in a lush, poetic prose that has attracted the praise of critics for its vivid imagery and evocative tenor, while also raising questions about the twinning of beauty and terror. Not one gratuitously to underscore beauty for its own sake, he maintains that he uses it to ask ‘certain metaphysical and spiritual questions’: his works are preoccupied with interrogating whether ‘the horrors of the world diminish the beauty of the world, and ­– equally importantly ­– [if] the beauty of the world diminish[es] the horrors of the world’.

—C. S. Bhagya, 2018

Cite this: Bhagya, C. S. “[scf-post-title].” Postcolonial Writers Make Worlds, 2018, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Malorie Blackman, 2008 (photo: Dominic Turner, CC BY-NC 2.0 via Flickr)

Writing for children and teens, Malorie Blackman’s career has spanned over three decades and has been instrumental in diversifying representation in children’s fiction in Britain. In 1997 Blackman won the Excelle/Write Thing Children’s Author of the Year Award for her books for new and younger readers between the ages of 3 and 11. Her picture books for new readers feature children of colour, providing much needed diversity in a market that in the 1990s was white-washed, and unfortunately remains overwhelmingly so. Thanks to authors like Blackman, the under-representation of minorities in Britain in children’s literature is changing, helped in part by the current trends of advocacy for diverse representation across media and book publishing.

Blackman’s reputation was well-established by the time she wrote the first of the Noughts and Crosses novels. In 2020 the series brought the author into the eye of a media storm following the release of the BBC television adaptation of the five-part book series. Refusing accusations of baiting a race war, Blackman argued for the revisionist politics of the reversal of racial dominance in the novels, noting that Callum’s experiences are mapped directly on her own: ‘The things he goes through particularly in school happened to me, like asking my teachers where the black scientists were on the curriculum and being told there weren’t any.’ Blackman uses this provocative strategy of racial reversal that is also deployed in two of Booker Prize-winner Bernadine Evaristo’s novels, The Emperor’s Babe and Blonde Roots, using the effect of reversing race to highlight the illogic of racist ideology.

Blackman’s more well-known young adult fiction deals in particular with adolescent protagonists undergoing an experience of rapid maturity due to circumstances often beyond their control. Set in a dystopian world where one race rules over another, the five novels that comprise the Noughts and Crosses series offer a stark reversal of the long history of racial prejudice against people of colour. Noughts and Crosses was Blackman’s first and only series of novels in which she explored interracial relationships and the tensions of racial prejudice in Britain, thinly veiled as ‘Albion’ in the novels.

The characters in Blackman’s novels are usually black like the author herself, but their stories play out without their race being the major or most impactful aspect of the narrative, a choice that Blackman has intentionally made to resist being cast as a ‘black writer’. Following the release of Noughts + Crosses on BBC iPlayer in March 2020, Blackman refused to engage in accusations that she was ‘anti-white’ saying, ‘I’m not even going to dignify your absurd nonsense with a response.’ She experienced profound racism at school and during her young adult life, but worked hard to overcome these traumas, though recalls a deep regret that her first book by a person of colour was Alice Walker’s The Colour Purple at age 21. She has long been an advocate for diversity, facing racist abuse on social media in 2013 for expressing the importance of representation in children’s literature. Book Trust Represents statistics indicate that in the last 11 years, fewer than 2% of all authors and illustrators of children’s books published in the UK were British people of colour. Since then, more authors have spoken out about the necessity for diversity in children’s literature, most notably the author Sharna Jackson.  

While Blackman is best known for her children’s fiction, she has also had success writing for the screen. Her science fiction novel Pig Heart Boy (1997) explores thirteen-year-old Cameron Joshua Kelsey’s experience of xenotransplantation (animal-to-human organ transplant). This became a BBC children’s television series, for which Blackman also wrote the script, which won a BAFTA for Best Drama and a Royal Television Society Award.

In 2008 Blackman received an OBE for her services to Children’s Literature and in 2013 she won the Black Tentacle at The Kitschies, Britain’s literary award for ‘outstanding achievement in encouraging and elevating the conversation around genre literature’. Blackman has been described by The Times newspaper as ‘national treasure’ and has been instrumental in diversifying the face and stories of children’s and young adult literature in Britain.

—Chelsea Haith, 2020

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Brian Chikwava after a reading in NUI Maynooth, 2012, BlindArchangel (CC BY-SA 3.0) via Wikimedia Commons

As the title Harare North – the Zimbabwean colloquialism for London – would suggest, Chikwava’s writing speaks both to the condition of being African and globally displaced, and that of being a Black Zimbabwean writer located in Britain. Reading Chikwava’s work recreates the amusement, bewilderment, and pain felt by people who, due to hostile immigration policies or Kafkaesque state bureaucracy, are not merely forced to live on the peripheries of society, but do not officially exist within it. Since the publication of ‘Seventh Street Alchemy’ in 2003, Chikwava has predominantly written short fiction such as ‘ZESA Moto Muzhinji’ published by Weaver Press in Harare in 2005, and ‘Dancing to the Jazz Goblin & His Rhythm’ published in The Literary Magazine in London, also in 2005. Yet, his writing of short stories may be due to concrete necessity rather than creative impulse. ‘We live in these times where everyone is short of time – time poverty is an all-pervading condition.’ His best-known work is the acclaimed 2009 novel, Harare North.

‘Due to the fact I am not quite confident in the world that is already there and constructed, I tend to find it easier to creatively articulate the experience of people that are on the margins,’ says Chikwava. What all of his fiction demonstrates, though, is how marginality is becoming an increasingly prevalent experience for people across the world. While his short stories show the difficulty of lives lived unofficially in Zimbabwe, Harare North reveals the margins that many middle-class readers didn’t realise existed within British society. Chikwava shows how life for the undocumented migrant labourer in Brixton can feel as hard as life for someone without an official birth certificate in Harare.

—Josh Jewell, 2018

Cite this: Jewell, Josh. “[scf-post-title].” Postcolonial Writers Make Worlds, 2018, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Teju Cole, One World One SFU 2015, SFU Library (CC BY-NC-ND 2.0) via Flickr

Teju Cole is a Nigerian-American by origin, but as a writer he eschews exclusive definition by national labels such as Black British or African American, which have been the cornerstones of Anglophone and postcolonial writers before him, in favour of a defiant and provocative global identity. Cole’s work experiments with genre and form, blending fiction and non-fiction and indeed a range of media beyond writing (photography, sound, social media, and more). At his disposal in these border-crossing curatorial works is the full canon of global literature and culture, including, significantly, writing of British origin and with colonial and diasporic preoccupations.

Claiming access to the breadth of interests and influences that he does, Cole draws a distinction between himself and many other writers of the postcolonial (including Nigerian) diaspora, as articulated in an essay on James Baldwin:

He was sensitive to what was great in world art, and sensitive to his own sense of exclusion from it. […] I disagree not with his particular sorrow but with the self-abnegation that pinned him to it. Bach, so profoundly human, is my heritage. I am not an interloper.

Cole therefore demands subtle and diverse contextualisation, and to read him in relation to a tradition of British migrant and postcolonial writing adds resonance both to that body of work and to Cole’s oeuvre.  His British influences are significant. John Berger, for example, is a palpable and frequently acknowledged force in Cole’s essays, his photo-text work in particular. Cole built a strong friendship with Berger, unburdened by the kinds of historical or racial anxieties Baldwin suffered, and distinct too (though we can’t forget the role of personality in such interactions) from the more fraught relationship he describes with his postcolonial predecessor V. S. Naipaul. The writer to whom Cole is perhaps most often compared is W. G. Sebald, a German author whose immense significance to British writing suggests a template for the kind of relation a writer like Cole could take in turn. Their writing comes alive through the kinds of cultural transpositions that preoccupy them.

Bruce Chatwin (a key influence of Sebald’s) reinvigorated British travel writing in 1979 with In Patagonia, and Cole in turn has adopted the curatorial and polymathic travel writing style Chatwin famously established in that book. In Chatwin’s case it has been associated specifically with his heightened Englishness; for Cole to take such a role and to interact in polyphonic ways with the British canon is a political statement itself, an enactment of the kind of interactive transnational and postcolonial world to which he looks forward.

—Louis Rogers, 2018

Cite this: Rogers, Louis. “[scf-post-title].” Postcolonial Writers Make Worlds, 2018, [scf-post-permalink]. Accessed 12 April 2026.

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Selma Dabbagh and Courttia Newland in conversation during the Great Writers Inspire at Home workshops, Oxford, August 2017

Overview

Her first novel, Out of It, was published by Bloomsbury in 2011, first in English though it was later translated into Arabic by Khulood Amr under the title Gaze Tahta Al-Jild (Gaza Under The Skin) in 2015, as well as into French and Italian in 2016. Dabbagh is also the author of a number of short stories which have been published in magazines and journals as diverse as Wasafiri, Saqi and Telegram, as well as a number of anthologies including Granta and International PEN. As this latter publication might indicate, she has for a long time worked closely with PEN International, a global organisation of writers and activists who are committed to the power of literature as a peace-building force able to create mutual understanding between different cultures and nations across the world. Her written work often engages with issues such as these, exploring the permeable lines and moments of friction between culture and resistance, literature and activism – even as Dabbagh herself practises both.

In addition to her prose fiction, Dabbagh has also written drama, including a celebrated radio play that was produced by BBC Radio 4, broadcast in January 2014, entitled The Brick. The play dramatises the day-to-day experience of Palestinian life by telling the story of a Palestinian woman attempting to travel through contemporary Jerusalem, shaped as it is by numerous permits, road blocks and checkpoints, whilst countering these with the Palestinian’s rich cultural heritage and deep familial roots. Dabbagh also regularly writes reviews and short articles for important Palestinian online publications such as Electronic Intifada, and has contributed blogs and other journalistic pieces for The Guardian and the London Review of Books. She regularly appears at international literary festivals in Britain and Palestine, as well as other places across the world, where she reads from her work; she has also on occasion taught creative writing workshops in schools and universities.

—Dominic Davies, 2017

Cite this: Davies, Dominic. “[scf-post-title].” Postcolonial Writers Make Worlds, 2017, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Capital: The Eruption of Delhi (2014) is Dasgupta’s most recent published work. Written while he was living in Delhi, it examines the city in the context of India’s rise in the global economy. The book won the 2017 Ryszard Kapuściński Award for Literary Reportage, and was short-listed for the Orwell Prize and for the Royal Society of Literature Ondaatje Prize.

Dasgupta established the JCB Prize for literature and served as its literary director from 2017–2019. Among literary prizes in India, the JCB Prize is unique in requiring publishers to submit works in both English and in translation, in order to “help readers across the world discover the very best of contemporary Indian literature”. Dasgupta currently lives in Herefordshire, and is working on his next book, After Nations. He is also an author of essays and short-fiction, which have appeared  in the Financial Times, Granta, The Guardian, the New Statesman and the New York Times.

Writing

Rana Dasgupta, 2018 (photo: Nina Subin)

Dasgupta’s oeuvre features a continuous literary imagining of the effects and affect of capitalism as a profit-driven system which focuses on individual achievement. The culture of capitalist societies has privileged the concerns of the wealthy and the internationally mobile, but Dasgupta’s works insist on wider psychic and emotional realities. His two novels and one work of literary non-fiction testify to the importance of literary representation in their reference to lived realities. Dasgupta employs different modes of representing the present era through the essay, the documentary and the short story. His fictional characters include an ear-cleaner in Shenzhen and a slum-resident under a flyover in Nigeria, while in Capital he presents real-life technocrats, businessmen, drug-dealers and activists. Taken as a whole, his writing reveals the importance of personal experiences in portraying bewildering and terrifying changes in society. Reflecting on Tokyo Cancelled and Solo after receiving the Commonwealth Writers’ Prize, Dasgupta asks, “how do you tell a story of the contemporary world that is complex, and reflects all the intensities that we feel?”

All of Dasgupta’s works express a concern with finding a literary form capacious enough to portray the enlarged scale of the world, in time and space. Tokyo Cancelled comprises a story-cycle of folktales narrated on one night in a transit lounge, as travellers await the resumption of air traffic so they can continue their journeys. Structurally, it alludes to Scheherazade’s One Thousand and One Nights, and has been described as “leav[ing] iridescent trails that criss-cross the globe like a flight map”. Solo, by contrast, contains two corresponding texts about the same character: a book of one man’s failures and a book of corresponding reveries In between the two narratives, the immense sense of loss of a life lived under Communism is fully evoked, as well as what one reviewer has described as the “quiet heroism” of a character who remains, against all odds, alive at the end of the book.

Finally, Capital begins and ends with chapters about the historical role of wells and rivers in shaping Delhi, and how its current lack of water symbolises India’s current political and social moment. The body of the work takes readers on a journey through Delhi’s neighbourhoods in a series of encounters and interviews which delve into issues as wide-ranging as the changing role of middle-class women, the continuing effects of partition on North India, and the historical amnesia implicit in the reduction of linguistic diversity. A writer of his time, Dasgupta’s work illustrates the continual engagement of literature with histories that go beyond and change national narratives.

—Ann Ang, 2020

Cite this: Ang, Ann. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 12 April 2026.

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Biography

Writing

Kwame Dawes, Poetas de los cinco continentes, Di / Verso 2017, by Mariano Castillo / Secretaría de Cultura CDMX (CC-BY-SA 2.0) via Flickr

All Kwame Dawes’s work is pervaded by a conviction that writing, and in particular poetry, matters intensely to how we understand the world and relate to one another. This is also evident in the several plays he has written, acted in, directed and produced, most recently One Love at the Lyric Hammersmith in London. In 2007 he released A Far Cry from Plymouth Rock: A Personal Narrative. His essays have appeared in numerous journals and periodicals including the London Review of Books, Granta, The Washington Post, and USA Today. Among his many awards and prizes are a Pushcart Prize, a Musgrave Medal, the 2019 Windham-Campbell prize, and an Emmy for HOPE: Living and Loving with AIDS in Jamaica. In 2018 he was named a chancellor of the Academy of American Poets, an honorary position held in the past by W. H. Auden, Elizabeth Bishop, Adrienne Rich, and Mark Strand.

Postcolonial Writers Make Worlds aims to recognise the ways in which Black and Asian British writers confront particular challenges in their writing careers, not least the tendency for institutions, including the publishing industry, to overlook and mishear their voices. Founded in 2012 by Dawes, the African Poetry Book Fund (APBF) seeks to address this problem directly by publishing and promoting the work of African poets, including those of the diaspora. Writers Make Worlds is especially delighted to feature the APBF, and this panel discussing their work, convened by Dawes. In the UK, poets published by the APBF include: Warsan Shire, Janet Kofi-Tsekpo, Mary-Alice Daniel, Nick Makoha, and Victoria Adukwei Bulley.

—Katherine Collins, 2019

Cite this: Collins, Katherine. “[scf-post-title].” Postcolonial Writers Make Worlds, 2019, [scf-post-permalink]. Accessed 12 April 2026.

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