In the following essay, Caulfied analyzes the role of history in Moscow Gold.

In the following review, Naipaul discusses Ali's perception of and attitude toward twentieth-century Indian politics in An Indian Dynasty.

In the following interview, originally conducted in November 2001, Ali discusses the relationship between the United States and Pakistan as well as the worldwide war on terrorism.

In the following excerpt, Hitchens contends that Ali provides a vivid portrayal of the 1960s world climate in 1968: Marching in the Streets.

In the following review, Sennett compares and contrasts the central arguments of The Clash of Fundamentalisms with Fred Halliday's Two Hours That Shook the World.

In the following review, Arnove offers a generally positive assessment of The Clash of Fundamentalisms, but argues that the work would have been stronger if Ali had proposed alternatives to modern Islamism.

In the following review, Huggler explores the major thematic concerns of The Stone Woman.

In the following review, Raine discusses the collaboration between Ali, Howard Brenton, and Andy de la Tour and the resulting play Snogging Ken.

In the following review, Hume compares and contrasts The Clash of Fundamentalisms with Gilles Kepel's Jihad: The Trail of Political Islam.

In the following review, Pal contends that although An Indian Dynasty: The Story of the Nehru-Gandhi Family “was written and produced in less than six months, it is well documented, generally accurate and very readable.”

In the following review, Ahmed provides an overview of Ali's life and career, tracing his development as an author through Shadows of the Pomegranate Tree.

In the following review, Fountain describes Ali as an “informative, funny, and illuminating writer,” lauding his prose in Street Fighting Years.

In the following review, Powell praises The Clash of Fundamentalisms, calling the work “a must read.”

In the following review, Jakeman maintains that The Book of Saladin is a fulfilling read, utilizing “sparse prose” filled with exotic settings in order to create a realistic portrait of the sultan.

In the following review, Ahmed criticizes Can Pakistan Survive?, calling the work simplistic, polemical, and “marred in general by non sequiturs and by exaggeration.”

In the following review, Kellaway discusses the tone and pacing of Ugly Rumours.

In the following review, Rumens calls Moscow Gold “gripping,” and lauds the play for its bold, contrasting scenes and innovative stage construction.

In the following review, Mahawatte contends that although The Stone Woman is “rich, erudite and admirable,” it tries to achieve too much and fails on a number of levels.

In the following review, Irwin discusses Ali's utilization of exposition and metaphors, faulting what he deems to be Ali's lack of imagination in Shadows of the Pomegranate Tree.

In the following review, King pans The Stone Woman, contending that Ali is not a “natural novelist” and that he lacks the ability to realistically tell a story.

In the following review, Williams asserts that The Book of Saladin vividly depicts the sweep of history, but fails to develop its characters adequately.

In the following review, Addy credits Ali for his overview of the geopolitics of India in Can Pakistan Survive?, but faults him for not going beyond the “commonly held perceptions of the Left” in the book.

In the following review, Ferraro praises Fear of Mirrors for its examination of characters who serve political ideals, but faults the novel for its trite conclusion and “wooden” dialogue.

In the following review, King surveys the strengths and weaknesses of The Book of Saladin.

In the following review, King offers a negative assessment of Fear of Mirrors, calling the work confusing, poorly written, and clichéd.

In the following review, Hopkin argues that The Stone Woman is a captivating and complex novel.

In the following excerpt, Masani notes the lack of new research and serious analysis in An Indian Dynasty.

In the following review, Irwin compliments Iranian Nights, calling the play humorous and thought-provoking.

In the following review, Murray provides a favorable assessment of Ali's introduction to Who's Afraid of Margaret Thatcher?

In the following excerpt, Evans praises certain portions of Revolution from Above, but faults others, asserting that the book ignores many complexities of the Soviet political arena.

In the following excerpt, Chaudhuri maintains that Shadows of the Pomegranate Tree is “a strangely refreshing work in that it gives us a warm and indulgent picture of a certain section of Islamic life.”

In the following review, Crawley outlines Ali's major thematic concerns in Can Pakistan Survive?