Salman Rushdie - The Satanic Verses

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No book in modern times has matched the uproar sparked by Salman Rushdie's The Satanic Verses, which earned its author a death sentence. Furor aside, it is a marvelously erudite study of good and evil, a feast of language served up by a writer at the height of his powers, and a rollicking comic fable. The book begins with two Indians, Gibreel Farishta ("for fifteen years the biggest star in the history of the Indian movies") and Saladin Chamcha, a Bombay expatriate returning from his first visit to his homeland in 15 years, plummeting from the sky after the explosion of their jetliner, and proceeds through a series of metamorphoses, dreams and revelations. Rushdie's powers of invention are astonishing in this Whitbread Prize winner.
From Publishers Weekly Banned in India before publication, this immense novel by Booker Prize-winner Rushdie ( Midnight's Children ) pits Good against Evil in a whimsical and fantastic tale. Two actors from India, "prancing" Gibreel Farishta and "buttony, pursed" Saladin Chamcha, are flying across the English Channel when the first of many implausible events occurs: the jet explodes. As the two men plummet to the earth, "like titbits of tobacco from a broken old cigar," they argue, sing and are transformed. When they are found on an English beach, the only survivors of the blast, Gibreel has sprouted a halo while Saladin has developed hooves, hairy legs and the beginnings of what seem like horns. What follows is a series of allegorical tales that challenges assumptions about both human and divine nature. Rushdie's fanciful language is as concentrated and overwhelming as a paisley pattern. Angels are demonic and demons are angelic as we are propelled through one illuminating episode after another. The narrative is somewhat burdened by self-consciousness that borders on preciosity, but for Rushdie fans this is a splendid feast.
Review "A glittering novelist – one with startling imagination and intellectual resources, a master of perpetual storytelling." – V.S. Pritchett, "Abundant in enchanting narratives and amazingly peopled,
is both a philosophy and an Arabian nights entertainment. What wit, what real warmth in Rushdie’s thousand-eyed perceptions of the inferno within us and the vainglory of our aspirations! His ambitions are huge, and his creativity triumphantly matches them...A staggering achievement, brilliantly enjoyable." – Nadine Gordimer
"A masterpiece." – Bill Bruford,
"Swift's Gulliver's Travels, Voltaire's Candide, Sterne's Tristam Shandy.... Salman Rushdie, it seems to me, is very much a latter day member of their company." – "Further evidence of Rushdie’s stature as one of the most original, imaginative, perplexing, and important writers of our time." – "A novel of metamorphoses, hauntings, hallucinations, revelations, advertising jingles jokes… Rushdie has the power of description, and we succumb." – Victoria Glendinning, "An exhilarating… populous, loquacious, sometimes hilarious, extraordinary contemporary novel… a roller coaster ride over a vast majority of the imagination" – Angela Carter, "A truly original novel…sustained at headlong pace by the author whose powers of invention and construction, command of every variety of English and Anglo-Indian idiom, sense of desperate comedy, and within of intellectual reference have been well-exercised before, but neber on such a scale." – Hyam Maccoby,

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*

Alleluia Cone read, as she walked home from the Tube, her mother's deliriously happy letter from Stanford, Calif. ‘If people tell you happiness is unattainable,’ Alicja wrote in large, looping, back-leaning, left-handed letters, ‘kindly point them in my direction. I'll put them straight. I found it twice, the first time with your father, as you know, the second with this kind, broad man whose face is the exact colour of the oranges that grow all over these parts. Contentment, Allie. It beats excitement. Try it, you'll like it.’ When she looked up, Allie saw Maurice Wilson's ghost sitting atop a large copper beech-tree in his usual woollen attire – tam-o'-shanter, diamond-pattern Pringle jersey, plus-fours – looking uncomfortably overdressed in the heat. ‘I've no time for you now,’ she told him, and he shrugged. I can wait . Her feet were bad again. She set her jaw and marched on.

Saladin Chamcha, concealed behind the very copper beech from which Maurice Wilson's ghost was surveying Allie's painful progress, observed Gibreel Farishta bursting out of the front door of the block of flats in which he'd been waiting impatiently for her return; observed him red-eyed and raving. The demons of jealousy were sitting on his shoulders, and he was screaming out the same old song, wherethehell whothe whatthe dontthinkyoucanpullthewool howdareyou bitchbitchbitch. It appeared that Strindberg had succeeded where Jumpy (because absent) had failed.

The watcher in the upper branches dematerialized; the other, with a satisfied nod, strolled away down an avenue of shady, spreading trees.

*

The telephone calls which now began to be received, first at their London residence and subsequently at a remote address in Dumfries and Galloway, by both Allie and Gibreel, were not too frequent; then again, they could not be termed infrequent. Nor were there too many voices to be plausible; then again, there were quite enough. These were not brief calls, such as those made by heavy breathers and other abusers of the telephone network, but, conversely, they never lasted long enough for the police, eavesdropping, to track them to their source. Nor did the whole unsavoury episode last very long – a mere matter of three and a half weeks, after which the callers desisted forever; but it might also be mentioned that it went on exactly as long as it needed to, that is, until it had driven Gibreel Farishta to do to Allie Cone what he had previously done to Saladin – namely, the Unforgivable Thing.

It should be said that nobody, not Allie, not Gibreel, not even the professional phone-tappers they brought in, ever suspected the calls of being a single man's work; but for Saladin Chamcha, once renowned (if only in somewhat specialist circles) as the Man of a Thousand Voices, such a deception was a simple matter, entirely lacking in effort or risk. In all, he was obliged to select (from his thousand voices and a voice) a total of no more than thirty-nine.

When Allie answered, she heard unknown men murmuring intimate secrets in her ear, strangers who seemed to know her body's most remote recesses, faceless beings who gave evidence of having learned, by experience, her choicest preferences among the myriad forms of love; and once the attempts at tracing the calls had begun her humiliation grew, because now she was unable simply to replace the receiver, but had to stand and listen, hot in the face and cold along the spine, making attempts (which didn't work) actually to prolong the calls.

Gibreel also got his share of voices: superb Byronic aristocrats boasting of having ‘conquered Everest’, sneering guttersnipes, unctuous best-friend voices mingling warning and mock-commiseration, a word to the wise, how stupid can you, don't you know yet what she's, anything in trousers, you poor moron, take it from a pal . But one voice stood out from the rest, the high soulful voice of a poet, one of the first voices Gibreel heard and the one that got deepest under his skin; a voice that spoke exclusively in rhyme, reciting doggerel verses of an understated naivety, even innocence, which contrasted so greatly with the masturbatory coarseness of most of the other callers that Gibreel soon came to think of it as the most insidiously menacing of all.

I like coffee, I like tea,
I like things you do with me.

Tell her that , the voice swooned, and rang off. Another day it returned with another jingle:

I like butter, I like toast,
You're the one I love the most.

Give her that message, too; if you'd be so kind . There was something demonic, Gibreel decided, something profoundly immoral about cloaking corruption in this greetings-card tum-ti-tum.

Rosy apple, lemon tart,
Here's the name of my sweetheart.

A ... I ... I ... Gibreel, in disgust and fear, banged down the receiver; and trembled. After that the versifier stopped calling for a while; but his was the voice Gibreel started waiting for, dreading its reappearance, having perhaps accepted, at some level deeper than consciousness, that this infernal, childlike evil was what would finish him off for good.

But O how easy it all turned out to be! How comfortably evil lodged in those supple, infinitely flexible vocal cords, those puppetmaster's strings! How surely it stepped out along the high wires of the telephone system, poised as a barefoot acrobat; how confidently it entered the victims' presence, as certain of its effect as a handsome man in a perfectly tailored suit! And how carefully it bided its time, sending forth every voice but the voice that would deliver the coup de grâce – for Saladin, too, had understood the doggerel's special potency – deep voices and squeaky voices, slow ones, quick ones, sad and cheerful, aggression-laden and shy. One by one, they dripped into Gibreel's ears, weakening his hold on the real world, drawing him little by little into their deceitful web, so that little by little their obscene, invented women began to coat the real woman like a viscous, green film, and in spite of his protestations to the contrary he started slipping away from her; and then it was time for the return of the little, satanic verses that made him mad.

*

Roses are red, violets are blue,
Sugar never tasted sweet as you.

Pass it on . He returned as innocent as ever, giving birth to a turmoil of butterflies in Gibreel's knotting stomach. After that the rhymes came thick and fast. They could have the smuttiness of the school playground:

When she's down at Waterloo
She don't wear no yes she do
When she's up at Leicester Square
She don't wear no underwear;

or, once or twice, the rhythm of a cheerleader's chant.

Knickerknacker, firecracker,
Sis! Boom! Bah!
Alleluia! Alleluia!
Rah! Rah! Rah!

And lastly, when they had returned to London, and Allie was absent at the ceremonial opening of a freezer food mart in Hounslow, the last rhyme.

Violets are blue, roses are red,
I've got her right here in my bed.

Goodbye, sucker .

Dialling tone.

*

Alleluia Cone returned to find Gibreel gone, and in the vandalized silence of her apartment she determined that this time she would not have him back, no matter in what sorry condition or how wheedlingly he came crawling to her, pleading for forgiveness and for love; because before he left he had wrought a terrible vengeance upon her, destroying every one of the surrogate Himalayas she had collected over the years, thawing the ice-Everest she kept in her freezer, pulling down and ripping to shreds the parachute-silk peaks that rose above her bed, and hacking to pieces (he'd used the small axe she kept with the fire extinguisher in the broom cupboard) the priceless whittled memento of her conquest of Chomolungma, given her by Pemba the shcrpa, as a warning as well as a commemoration. To All Bibi. We were luck. Not to try again.

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