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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‘You count eight thousand metre peaks to fall asleep?’ Chamcha asked him. Bigger than sheep, but not so numerous.

Gibreel Farishta glared at him; then bowed his head; came to a decision. ‘Not to sleep, my friend. To stay awake.’

*

That was when Saladin Chamcha found out why Gibreel Farishta had begun to fear sleep. Everybody needs somebody to talk to and Gibreel had spoken to nobody about what had happened after he ate the unclean pigs. The dreams had begun that very night. In these visions he was always present, not as himself but as his namesake, and I don't mean interpreting a role, Spoono, I am him, he is me, I am the bloody archangel, Gibreel himself, large as bloody life.

Spoono . Like Zeenat Vakil, Gibreel had reacted with mirth to Saladin's abbreviated name. ‘Bhai, wow. I'm tickled, truly. Tickled pink. So if you are an English chamcha these days, let it be. Mr Sally Spoon. It will be our little joke.’ Gibreel Farishta had a way of failing to notice when he made people angry. Spoon, Spoono, my old Chumch : Saladin hated them all. But could do nothing. Except hate.

Maybe it was because of the nicknames, maybe not, but Saladin found Gibreel's revelations pathetic, anticlimactic, what was so strange if his dreams characterized him as the angel, dreams do every damn thing, did it really display more than a banal kind of egomania? But Gibreel was sweating from fear: ‘Point is, Spoono,’ he pleaded, ‘every time I go to sleep the dream starts up from where it stopped. Same dream in the same place. As if somebody just paused the video while I went out of the room. Or, or. As if he's the guy who's awake and this is the bloody nightmare. His bloody dream: us. Here. All of it.’ Chamcha stared at him. ‘Crazy, right,’ he said. ‘Who knows if angels even sleep, never mind dream. I sound crazy. Am I right or what?’

‘Yes. You sound crazy.’

‘Then what the hell,’ he wailed, ‘is going on in my head?’

*

The longer he spent without going to sleep the more talkative he became, he began to regale the hostages, the hijackers, as well as the dilapidated crew of Flight 420, those formerly scornful stewardesses and shining flight-deck personnel who were now looking mournfully moth-eaten in a corner of the plane and even losing their earlier enthusiasm for endless games of rummy, – with his increasingly eccentric reincarnation theories, comparing their sojourn on that airstrip by the oasis of Al-Zamzam to a second period of gestation, telling everybody that they were all dead to the world and in the process of being regenerated, made anew. This idea seemed to cheer him up somewhat, even though it made many of the hostages want to string him up, and he leapt up on to a seat to explain that the day of their release would be the day of their rebirth, a piece of optimism that calmed his audience down. ‘Strange but true!’ he cried. ‘That will be day zero, and because we will all share the birthday we will all be exactly the same age from that day on, for the rest of our lives. How do you call it when fifty kids come out of the same mother? God knows. Fiftuplets. Damn!’

Reincarnation, for frenzied Gibreel, was a term beneath whose shield many notions gathered a-babeling: phoenix-from-ashes, the resurrection of Christ, the transmigration, at the instant of death, of the soul of the Dalai Lama into the body of a new-born child... such matters got mixed up with the avatars of Vishnu, the metamorphoses of Jupiter, who had imitated Vishnu by adopting the form of a bull; and so on, including of course the progress of human beings through successive cycles of life, now as cockroaches, now as kings, towards the bliss of no-more-returns. To be born again, first you have to die . Chamcha did not bother to protest that in most of the examples Gibreel provided in his soliloquies, metamorphosis had not required a death; the new flesh had been entered into through other gates. Gibreel in full flight, his arms waving like imperious wings, brooked no interruptions. ‘The old must die, you get my message, or the new cannot be whatnot.’

Sometimes these tirades would end in tears. Farishta in his exhaustion-beyond-exhaustion would lose control and place his sobbing head on Chamcha's shoulder, while Saladin – prolonged captivity erodes certain reluctances among the captives – would stroke his face and kiss the top of his head, There, there, there . On other occasions Chamcha's irritation would get the better of him. The seventh time that Farishta quoted the old Gramsci chestnut, Saladin shouted out in frustration, maybe that's what's happening to you, loudmouth, your old self is dying and that dream-angel of yours is trying to be born into your flesh.

*

‘You want to hear something really crazy?’ Gibreel after a hundred and one days offered Chamcha more confidences. ‘You want to know why I'm here?’ And told him anyway: ‘For a woman. Yes, boss. For the bloody love of my bloody life. With whom I have spent a sum total of days three point five. Doesn't that prove I really am cracked? QED, Spoono, old Chumch.’

And: ‘How to explain it to you? Three and a half days of it, how long do you need to know that the best thing has happened, the deepest thing, the has-to-be-it? I swear: when I kissed her there were mother-fucking sparks, yaar, believe don't believe, she said it was static electricity in the carpet but I've kissed chicks in hotel rooms before and this was a definite first, a definite one-and-only. Bloody electric shocks, man, I had to jump back with pain.’

He had no words to express her, his woman of mountain ice, to express how it had been in that moment when his life had been in pieces at his feet and she had become its meaning. ‘You don't see,’ he gave up. ‘Maybe you never met a person for whom you'd cross the world, for whom you'd leave everything, walk out and take a plane. She climbed Everest, man. Twenty-nine thousand and two feet, or maybe twenty-nine one four one. Straight to the top. You think I can't get on a jumbo-jet for a woman like that?’

The harder Gibreel Farishta tried to explain his obsession with the mountain-climber Alleluia Cone, the more Saladin tried to conjure up the memory of Pamela, but she wouldn't come. At first it would be Zeeny who visited him, her shade, and then after a time there was nobody at all. Gibreel's passion began to drive Chamcha wild with anger and frustration, but Farishta didn't notice it, slapped him on the back, cheer up, Spoono, won't be long now .

*

On the hundred and tenth day Tavleen walked up to the little goateed hostage, Jalandri, and motioned with her finger. Our patience has been exhausted, she announced, we have sent repeated ultimatums with no response, it is time for the first sacrifice. She used that word: sacrifice. She looked straight into Jalandri's eyes and pronounced his death sentence. ‘You first. Apostate traitor bastard.’ She ordered the crew to prepare for take-off, she wasn't going to risk a storming of the plane after the execution, and with the point of her gun she pushed Jalandri towards the open door at the front, while he screamed and begged for mercy. ‘She's got sharp eyes,’ Gibreel said to Chamcha. ‘He's a cut-sird.’ Jalandri had become the first target because of his decision to give up the turban and cut his hair, which made him a traitor to his faith, a shorn Sirdarji. Cut-Sird . A seven-letter condemnation; no appeal.

Jalandri had fallen to his knees, stains were spreading on the seat of his trousers, she was dragging him to the door by his hair. Nobody moved. Dara Buta Man Singh turned away from the tableau. He was kneeling with his back to the open door; she made him turn round, shot him in the back of the head, and he toppled out on to the tarmac. Tavleen shut the door.

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