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1. A. Robert Lee, introduction, Other Britain, Other British: Contemporary Multicultural Fiction, ed. A. Robert Lee (London: Pluto, 1995) 1–3. See esp. p. 2.

2. Andrew Smith. “Migrancy, Hybridity and Postcolonial Literary Studies”. Cambridge Companion to Postcolonial Literary Studies, ed. Neil Lazarus (Cambridge: Cambridge University Press, 2004) 241–261. See esp. p. 252.

3. John Banville, “The Personae of Summer”, Irish Writers and Their Creative Process, ed. Jacqueline Genet and Wynne Hellegouarc’h, Irish Literary Studies 48 (Gerrards Cross: Smythe, 1996) 118–122. See esp. p. 119.

4. Milan Kundera, The Art of the Novel, trans. Linda Asher (1988; New York: Perennial-Harper, 2003) 162.

5. Rod Mengham, “General Introduction: Contemporary British Fiction”, Contemporary British Fiction, ed. Richard J. Lane, Rod Mengham, and Philip Tew (Cambridge: Polity, 2003) 1–7. See esp. p. 1. See also: Suzanne Keen, “The Historical Turn in British Fiction”, A Concise Companion to Contemporary British Fiction, ed. James F. English (Oxford: Blackwell, 2006) 167–187.

6. The first instalment, Shadows of the Pomegranate Tree, was published in 1992. The other instalments are: The Book of Saladin (1998), The Stone Woman (1999), and A Sultan in Palermo (2005).

7. See James Procter, “New Ethnicities, the Novel, and the Burdens of Representation”, A Concise Companion to Contemporary British Fiction, ed. James F. English (Oxford: Blackwell, 2006) 101–120.

8. Rod Mengham suggests, for example, that “issues of cultural hybridity” have been of “decisive importance” in the evolution of postwar British fiction, especially in the last two decades (5).