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Salman Rushdie: The Satanic Verses

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Salman Rushdie The Satanic Verses

The Satanic Verses: краткое содержание, описание и аннотация

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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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Gibreel, captive aboard A1-420, sank into forgivable rhapsodies, fixing Chamcha with his glittering eye, explicating the mysteries of the runners’ coding system, black swastika red circle yellow slash dot, running in his mind's eye the entire relay from home to office desk, that improbable system by which two thousand dabbawallas delivered, each day, over one hundred thousand lunch-pails, and on a bad day, Spoono, maybe fifteen got mislaid, we were illiterate, mostly, but the signs were our secret tongue.

Bostan circled London, gunmen patrolling the gangways, and the lights in the passenger cabins had been switched off, but Gibreel's energy illuminated the gloom. On the grubby movie screen on which, earlier in the journey, the inflight inevitability of Walter Matthau had stumbled lugubriously into the aerial ubiquity of Goldie Hawn, there were shadows moving, projected by the nostalgia of the hostages, and the most sharply defined of them was this spindly adolescent, Ismail Najmuddin, mummy's angel in a Gandhi cap, running tiffins across the town. The young dabbawalla skipped nimbly through the shadow-crowd, because he was used to such conditions, think, Spoono, picture, thirty-forty tiffins in a long wooden tray on your head, and when the local train stops you have maybe one minute to push on or off, and then running in the streets, flat out, yaar, with the trucks buses scooters cycles and what-all, one-two, one-two, lunch, lunch, the dabbas must get through, and in the monsoon running down the railway line when the train broke down, or waist-deep in water in some flooded street, and there were gangs, Salad baba, truly, organized gangs of dabba-stealers, it's a hungry city, baby, what to tell you, but we could handle them, we were everywhere, knew everything, what thieves could escape our eyes and ears, we never went to any policia, we looked after our own.

At night father and son would return exhausted to their shack by the airport runway at Santacruz and when Ismail's mother saw him approaching, illuminated by the green red yellow of the departing jet-planes, she would say that simply to lay eyes on him made all her dreams come true, which was the first indication that there was something peculiar about Gibreel, because from the beginning, it seemed, he could fulfil people's most secret desires without having any idea of how he did it. His father Najmuddin Senior never seemed to mind that his wife had eyes only for her son, that the boy's feet received nightly pressings while the father's went unstroked. A son is a blessing and a blessing requires the gratitude of the blest.

Naima Najmuddin died. A bus hit her and that was that, Gibreel wasn't around to answer her prayers for life. Neither father nor son ever spoke of grief. Silently, as though it were customary and expected, they buried their sadness beneath extra work, engaging in an inarticulate contest, who could carry the most dabbas on his head, who could acquire the most new contracts per month, who could run faster, as though the greater labour would indicate the greater love. When he saw his father at night, the knotted veins bulging in his neck and at his temples, Ismail Najmuddin would understand how much the older man had resented him, and how important it was for the father to defeat the son and regain, thereby, his usurped primacy in the affections of his dead wife. Once he realized this, the youth eased off, but his father's zeal remained unrelenting, and pretty soon he was getting promotion, no longer a mere runner but one of the organizing muqaddams. When Gibreel was nineteen, Najmuddin Senior became a member of the lunch-runners’ guild, the Bombay Tiffin Carriers’ Association, and when Gibreel was twenty, his father was dead, stopped in his tracks by a stroke that almost blew him apart. ‘He just ran himself into the ground,’ said the guild's General Secretary, Babasaheb Mhatre himself. ‘That poor bastard, he just ran out of steam.’ But the orphan knew better. He knew that his father had finally run hard enough and long enough to wear down the frontiers between the worlds, he had run clear out of his skin and into the arms of his wife, to whom he had proved, once and for all, the superiority of his love. Some migrants are happy to depart.

Babasaheb Mhatre sat in a blue office behind a green door above a labyrinthine bazaar, an awesome figure, buddha-fat, one of the great moving forces of the metropolis, possessing the occult gift of remaining absolutely still, never shifting from his room, and yet being everywhere important and meeting everyone who mattered in Bombay. The day after young Ismail's father ran across the border to see Naima, the Babasaheb summoned the young man into his presence. ‘So? Upset or what?’ The reply, with downcast eyes: ji, thank you, Babaji, I am okay. ‘Shut your face,’ said Babasaheb Mhatre. ‘From today you live with me.’ Butbut, Babaji... ‘But me no buts. Already I have informed my goodwife. I have spoken.’ Please excuse Babaji but how what why? ‘I have spoken .’

Gibreel Farishta was never told why the Babasaheb had decided to take pity on him and pluck him from the futurelessness of the streets, but after a while he began to have an idea. Mrs Mhatre was a thin woman, like a pencil beside the rubbery Babasaheb, but she was filled so full of mother-love that she should have been fat like a potato. When the Baba came home she put sweets into his mouth with her own hands, and at nights the newcomer to the household could hear the great General Secretary of the BTCAprotesting, Let me go, wife, I can undress myself. At breakfast she spoon-fed Mhatre with large helpings of malt, and before he went to work she brushed his hair. They were a childless couple, and young Najmuddin understood that the Babasaheb wanted him to share the load. Oddly enough, however, the Begum did not treat the young man as a child. ‘You see, he is a grown fellow,’ she told her husband when poor Mhatre pleaded, ‘Give the boy the blasted spoon of malt.’ Yes, a grown fellow, ‘we must make a man of him, husband, no babying for him.’

‘Then damn it to hell,’ the Babasaheb exploded, ‘why do you do it to me?’ Mrs. Mhatre burst into tears. ‘But you are everything to me,’ she wept, ‘you are my father, my lover, my baby too. You are my lord and my suckling child. If I displease you then I have no life.’

Babasaheb Mhatre, accepting defeat, swallowed the tablespoon of malt.

He was a kindly man, which he disguised with insults and noise. To console the orphaned youth he would speak to him, in the blue office, about the philosophy of rebirth, convincing him that his parents were already being scheduled for re-entry somewhere, unless of course their lives had been so holy that they had attained the final grace. So it was Mhatre who started Farishta off on the whole reincarnation business, and not just reincarnation. The Babasaheb was an amateur psychic, a tapper of table-legs and a bringer of spirits into glasses. ‘But I gave that up,’ he told his protege, with many suitably melodramatic inflections, gestures, frowns, ‘after I got the fright of my bloody life.’

Once (Mhatre recounted) the glass had been visited by the most co-operative of spirits, such a too-friendly fellow, see, so I thought to ask him some big questions. Is there a God , and that glass which had been running round like a mouse or so just stopped dead, middle of table, not a twitch, completely phutt, kaput. So, then, okay, I said, if you won't answer that try this one instead, and I came right out with it, Is there a Devil . After that the glass – baprebap! – began to shake – catch your ears! – slowslow at first, then faster-faster, like a jelly, until it jumped! – ai-hai! – up from the table, into the air, fell down on its side, and – o-ho! – into a thousand and one pieces, smashed. Believe don't believe, Babasaheb Mhatre told his charge, but thenandthere I learned my lesson: don't meddle, Mhatre, in what you do not comprehend.

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