Suhayl Saadi and Tim Martin, both writing in The Independent, called the novel "a competent debut by a talented writer"[7] and "a bold and vigorous debut,"[6] respectively.
The novel's language is a mixture of different British dialects (including texting abbreviations), which critics such as Tim Martin ("The addictive exuberance of Jas's patter is also a form of literary prestidigitation"[6]) seem to approve of. Others are less convinced. Suhayl Saadi (a writer of Pakistani descent), for instance, praises "the powerful, sometimes homoerotic, depiction of violence and sexual frustration" but notes that the "good" people in the novel all tend to speak in Received Pronunciation accents ("Empathy is created for South Asians only if they speak with a British accent") and this linguistic stereotyping leads Saadi to conclude that Londonstani "is a shabby, 21st-century, Orientalism and is not dissimilar from the mentality via which the Middle East is being re-colonised."[7]
The plot, and especially the ending, was praised by some and severely criticized by others. Tim Martin praised the "shattering twist that maintains total narrative cogency while turning the entire book upside down,"[6] but Suhayl Saadi calls it "contrived and unconvincing" and complains of a "clunky" plot.[7] James Bridle, on ReadySteadyBook, agrees, in an otherwise positive review: "The less said about the final twist, which smacks of rushed, massive-advance-mediated desperation, the better."[8] Mandy Sayer, writing for the Sydney Morning Herald, praises the novel for exuding a "charming, original energy" but criticizes "the surprise ending and resolution [which] is disappointing, clichéd and trite." Her overall conclusion: "As a contemporary cultural artefact, Londonstani is second to none. As a novel, it is overwritten and undercrafted. I have no doubt it will do very well."[9]
Within two years after its publication, Londonstani became the subject of a full-length academic article: "Escaping the Matrix" by Michael Mitchell studies the book for its perspective on multi-cultural England.[10]
Critics in the United States were generally positive. Donald Morrison, in Time, praised the novel's language ("The novel is written in an imaginative mix of English, Punjabi, Urdu, profanity, gangsta rap and mobile-phone texting"[4]) in an altogether positive article. The New York Times book editors picked the novel as an "Editors' choice" in August 2006.[11] A full-length review in The New York Times was mixed, criticizing its "teenage flaws" and "an embarrassingly sophomoric twist for a denouement"; still, Sophie Harrison praised its "extra-aural overtones."[12]
In the Netherlands, responses were positive and both novel and author received a great deal of coverage. NRC Handelsblad published a lengthy review, which concluded by calling the book an interesting debut by a promising writer.[13] Vrij Nederland published a lengthy interview with the author (he was in the Netherlands promoting the book).[14] VPRO's 3VOOR12 reported on the 2006 edition (named "Londonstani," after Malkani's novel) of "Crossing Border," an annual festival in The Hague which combines music and literature,[15] featured Dutch and British bands (including Panjabi Hit Squad and British Asian Ms Scandalous), and Malkani reading passages from his book.[16] A review on a Hindu website praised the novel for its many deftly handled and relevant plotlines and its linguistic qualities, and saw Malkani's portrayal of "Londonstanis" as relevant to "Hollandistanis" also.[17] Trouw, however, called the book shallow,[18] and Dutch writer Robert Vuijsje called it the worst book of the year.[19]
Londonstani appears to have received little attention in the German or French press, and what attention it got was negative.[20]
