Postcolonial Islam in My Son the Fanatic: From Deobandi Revivalism to the Secular Transposition of the Sufi Imaginary

Abstract

Set in the early 1990s, Hanif Kureishi’s short story “My Son the Fanatic” (1997) dramatizes tensions between Parvez, a lapsed Pakistani Muslim migrant to postcolonial England, and his son Ali, who rejects the western secularity of his father and reverts to a strict form of fundamentalist Islam. If these tensions remain unresolved in the story, Kureishi’s film adaptation elaborates them. In so doing, though, My Son the Fanatic (dir. Udayan Prasad 1997) presents a very different picture. Renamed Farid, the film’s eponymous youth breaks off engagement to the daughter of the local chief of police and challenges his father: “Can you put keema [minced meat] with strawberries?” Metaphorically, this question articulates the deeper concern underlying the story: How might migrants in diaspora live an authentic Muslim life in the secular environment of the predominantly non-Muslim United Kingdom? A close reading of My Son the Fanatic reveals vying answers. Farid and Parvez both invoke the Qur’an, ultimate arbiter of value, meaning and truth in Islam, but thence their paths diverge widely. On the one hand, the film depicts the revivalist maslak of Deobandi Islam, though such missionary fervour may lead all too easily to the violent militancy of Farid and his cohort. On the other hand, My Son the Fanatic suggests conditions of possibility for a Muslim life of sacralised secularity by developing the love between Parvez and Sandra in terms of tropes and themes transposed from the Sufi imaginary to the postcolonial United Kingdom, most notably an ethos of iḥsān, that is, the cultivation of what is beautiful and good.