Due to the orality in The Buddha, the historical events, and the many dialogues full of colloquialism, the reader gets the impression of realism. The novel is highly episodic; Kureishi uses juxtaposition and collage. The suburbs are "a leaving place" from which Kureishi's characters must move away. To Karim, London—even though it is geographically not far away from his home—seems like a completely different world. Therefore, his expectations of the city are great.
In The Buddha the move into (and later through) the city is like an odyssey or pilgrimage. On the first page Karim introduces himself as follows: "My name is Karim Amir, and I am an Englishman born and bred, almost". This motif is reinforced throughout the novel.
Pop music is an important theme in Kureishi's novels. One could even say that his novels have a soundtrack. London itself is associated by Karim to a sound. "There was a sound that London had. It was, I'm afraid, people in Hyde Park playing bongos with their hands; there was also the keyboard on The Doors' "Light My Fire". There were kids in velvet cloaks who lived free lives". Within the problems of prejudice and racism lies one of the themes of initiation novels: the question of identity. Furthermore, London seems to be the perfect setting for the protagonists' "often painful growth towards maturity through a range of conflicts and dilemmas, social, sexual and political." (Bart Moore-Gilbert, 2001, 113) These characterisations mark Kureishi's novels as examples of Bildungsromane and novels of initiation.
Even though The Buddha is set in the 1970s and ends just before the Thatcher era begins, Kureishi was writing it under the direct influence of the outcome of Thatcherism. It is not surprising then, looking back, that he can see the roots of Thatcherite conservatism already in the '70s.
