The constraints of Kureishi’s life after a devastating accident infuse his writing with a new and thrilling immediacy

Some months after returning home, after a grim year in hospitals in Rome and London, Hanif Kureishi begins to rebel. Not against his family, or the physical reality of being tetraplegic (and how could he?), but the liberal homogeneity of Shepherd’s Bush. He gets a diamond stud in his left ear at Westfield shopping centre, a piercing that enraged his father when he was 17. He sends off for a Maga cap and wears both to the farmers’ market, hoping for vitriol but getting nothing. “These quiescent scumbags only cared about themselves and their shopping,” he grumbles. “Being a fascist is far less thrilling than I imagined.”

Kureishi’s “re-punking” after decades in the metropolitan elite remains an ongoing project, just one response to his paralysis after a fall on Boxing Day 2022. His memoir Shattered was written in the long shock of that severance from a former life, which left him with no movement in his hands or legs, “a Beckettian chattering mouth”.

The actor waxes lyrical on directors, dildos and why she hates being referred to as though she’s a dusty old relic

In the late 1950s, Judi Dench was invited to meet a major Hollywood producer about a possible career in the film business. The producer looked at her for a long time and said: “Very nice to meet you but you’ll never make a movie because you have every single thing wrong with your face.” As she left his office, Dench – who was 23 and about to make her professional debut as Ophelia in Hamlet at the Old Vic – breathed a sigh of relief and resolved to concentrate on theatre. Though she dabbled in film and TV, it wasn’t until the 1990s that she became a bona fide movie star, playing M in the Bond films and winning an Oscar for her portrayal of Elizabeth I in Shakespeare in Love. Yet, she notes: “Being onstage is where I feel safest. Yes, I’ve appeared in films, but I’d never consider myself a film actor.”

Dench’s reflections on her working life form the backbone of Is It Too Late to Make a Run for It?, a memoir built around her conversations with the actor and theatre director Brendan O’Hea, Dench’s friend with whom she also collaborated on 2023’s Shakespeare: The Man Who Pays the Rent. This book confirms much of what is already known about Dench: that she is impishly funny, swears like a sailor, and that, despite that film producer’s unkind comments, she has “no hang-ups about what I look like on camera … Acting for me is not about looking glamorous. It’s whatever’s needed for the story.” We also learn that Dench, who is 91, can’t resist a prank: while playing Brecht’s Mother Courage at the Barbican in London, she replaced the drinks her character serves to two soldiers with cider vinegar – “It was a joy watching them knock it back, made even more glorious by the fact they had to ask for a top-up.”