Hanif Kureishi began his career in the late 1970s as a playwright and afterwards wrote several film scripts. Despite the appraisals he received from theatre critics, as Bart Moore-Gilbert suggests, Kureishi disregarded his career as a playwright and showed his disappointment at script writing as well, (33, 107) since he was not entirely satisfied with the repercussions of his film scripts. The title story of his short story collection The Body, published in 2002, which centres on a playwright who has left behind his successful career, may be regarded as a reference to Kureishi's own past. "The Body", differs from Kureishi's other prose works that centre on characters drawn from ethnic minorities. Although the protagonist is English, "The Body" deals with a protagonist who has problems with this body. Kureishi always regards it important to foreground the cultural significance of the body and its role in representing identity. His non-white characters like Karim and Changez in The Buddha of Suburbia or Shahid in The Black Album, as the representatives of the second generation of post-colonial immigrants, are all presented through their body ornamentation, mutilation or deformity. Karim and Shahid decorate their bodies by devoting special attention to elaborate hairstyle and clothes. Their body decoration, in most cases, functions to cover their cultural identity rather than emphasising it. Changez's body in The Buddha of Suburbia, on the other hand, is not decorated with fashionable hairstyle and famous brands of clothing, but it is mutilated. One of his arms is disabled and he is overweight. His body, unlike Karim's and Shahid's, does not attempt to cover his ethnicity, but foregrounds it. These body representations in Kureishi's works not only point out the relationship between the characters and their cultural identity, but also point out the author's interest in the relationship between body, personality and culture.