Geoffrey Nash says of writers such as Rushdie, Kureishi, and Ali that while their sympathies "may be with the individual migrant (a Shahid in The Black Album or a Nazneen in Brick Lane) these [sympathies] usually do not extend to migrant communities, and their fiction more often than not incorporates two-dimensional versions of Islam and Muslim fundamentalists"

Peter Morey, Islamophobia and the Novel, loc. 680