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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What she did: to deny her husband's weakness, she treated him, for the most part, like a lord, like a monarch, for in her lost world her glory had lain in his; to deny the ghosts outside the cafe, she stayed indoors, sending others out for kitchen provisions and household necessities, and also for the endless supply of Bengali and Hindi movies on VCR through which (along with her ever-increasing hoard of Indian movie magazines) she could stay in touch with events in the ‘real world’, such as the bizarre disappearance of the incomparable Gibreel Farishta and the subsequent tragic announcement of his death in an airline accident; and to give her feelings of defeated, exhausted despair some outlet, she shouted at her daughters. The elder of whom, to get her own back, hacked off her hair and permitted her nipples to poke through shirts worn provocatively tight.

The arrival of a fully developed devil, a horned goat-man, was, in the light of the foregoing, something very like the last, or at any rate the penultimate, straw.

*

Shaandaar residents gathered in the night-kitchen for an impromptu crisis summit. While Hind hurled imprecations into chicken soup, Sufyan placed Chamcha at a table, drawing up, for the poor fellow's use, an aluminium chair with a blue plastic seat, and initiated the night's proceedings. The theories of Lamarck, I am pleased to report, were quoted by the exiled schoolteacher, who spoke in his best didactic voice. When Jumpy had recounted the unlikely story of Chamcha's fall from the sky – the protagonist himself being too immersed in chicken soup and misery to speak for himself – Sufyan, sucking teeth, made reference to the last edition of The Origin of Species . ‘In which even great Charles accepted the notion of mutation in extremis, to ensure survival of species; so what if his followers – always more Darwinian than man himself! – repudiated, posthumously, such Lamarckian heresy, insisting on natural selection and nothing but, – however, I am bound to admit, such theory is not extended to survival of individual specimen but only to species as a whole; – in addition, regarding nature of mutation, problem is to comprehend actual utility of the change.’

‘Da-ad,’ Anahita Sufyan, eyes lifting to heaven, cheek lying ho-hum against palm, interrupted these cogitations. ‘Give over. Point is, how'd he turn into such a, such a,’ – admiringly – ‘freak?’

Upon which, the devil himself, looking up from chicken soup, cried out, ‘No, I'm not. I'm not a freak, O no, certainly I am not.’ His voice, seeming to rise from an unfathomable abyss of grief, touched and alarmed the younger girl, who rushed over to where he sat, and, impetuously caressing a shoulder of the unhappy beast, said, in an attempt to make amends: ‘Of course you aren't, I'm sorry, of course I don't think you're a freak; it's just that you look like one.’

Saladin Chamcha burst into tears.

Mrs. Sufyan, meanwhile, had been horrified by the sight of her younger daughter actually laying hands on the creature, and turning to the gallery of nightgowned residents she waved a soup-ladle at them and pleaded for support. ‘How to tolerate? – Honour, safety of young girls cannot be assured. – That in my own house, such a thing... !’

Mishal Sufyan lost patience. ‘Jesus, Mum.’

‘Jesus?’

‘Dju think it's temporary?’ Mishal, turning her back on scandalized Hind, inquired of Sufyan and Jumpy. ‘Some sort of possession thing – could we maybe get it you know exorcized ? Omens, shinings, ghoulies, nightmares on Elm Street, stood excitedly in her eyes, and her father, as much the VCR aficionado as any teenager, appeared to consider the possibility seriously. ‘In Der Steppenwolf ,’ he began, but Jumpy wasn't having any more of that. ‘The central requirement,’ he announced, ‘is to take an ideological view of the situation.’

That silenced everyone.

‘Objectively,’ he said, with a small self-deprecating smile, ‘what has happened here? A: Wrongful arrest, intimidation, violence. Two: Illegal detention, unknown medical experimentation in hospital,’ – murmurs of assent here, – as memories of intra-vaginal inspections, Depo-Provera scandals, unauthorized post-partum sterilizations, and, further back, the knowledge of Third World drug-dumping arose in every person present to give substance to the speaker's insinuations, – because what you believe depends on what you've seen, – not only what is visible, but what you are prepared to look in the face, – and anyhow, something had to explain horns and hoofs; in those policed medical wards, anything could happen – ‘And thirdly,’ Jumpy continued, ‘psychological breakdown, loss of sense of self, inability to cope. We've seen it all before.’

Nobody argued, not even Hind; there were some truths from which it was impossible to dissent. ‘Ideologically,’ Jumpy said, ‘I refuse to accept the position of victim. Certainly, he has been victim ized , but we know that all abuse of power is in part the responsibility of the abused; our passiveness colludes with, permits such crimes.’ Whereupon, having scolded the gathering into shamefaced submission, he requested Sufyan to make available the small attic room that was presently unoccupied, and Sufyan, in his turn, was rendered entirely unable, by feelings of solidarity and guilt, to ask for a single p in rent. Hind did, it is true, mumble: ‘Now I know the world is mad, when a devil becomes my house guest,’ but she did so under her breath, and nobody except her elder daughter Mishal heard what she said.

Sufyan, taking his cue from his younger daughter, went up to where Chamcha, huddled in his blanket, was drinking enormous quantities of Hind's unrivalled chicken yakhni, squatted down, and placed an arm around the still-shivering unfortunate. ‘Best place for you is here,’ he said, speaking as if to a simpleton or small child. ‘Where else would you go to heal your disfigurements and recover your normal health? Where else but here, with us, among your own people, your own kind?’

Only when Saladin Chamcha was alone in the attic room at the very end of his strength did he answer Sufyan's rhetorical question. ‘I'm not your kind,’ he said distinctly into the night. ‘You're not my people. I've spent half my life trying to get away from you.’

*

His heart began to misbehave, to kick and stumble as if it, too, wanted to metamorphose into some new, diabolic form, to substitute the complex unpredictability of tabla improvisations for its old metronomic beat. Lying sleepless in a narrow bed, snagging his horns in bedsheets and pillowcases as he tossed and turned, he suffered the renewal of coronary eccentricity with a kind of fatalistic acceptance: if everything else, then why not this, too? Badoomboom, went the heart, and his torso jerked. Watch it or I'll really let you have it. Doomboombadoom . Yes: this was Hell, all right. The city of London, transformed into Jahannum, Gehenna, Muspellheim.

Do devils suffer in Hell? Aren't they the ones with the pitchforks?

Water began to drip steadily through the dormer window. Outside, in the treacherous city, a thaw had come, giving the streets the unreliable consistency of wet cardboard. Slow masses of whiteness slid from sloping, grey-slate roofs. The footprints of delivery vans corrugated the slush. First light; and the dawn chorus began, chattering of road-drills, chirrup of burglar alarms, trumpeting of wheeled creatures clashing at corners, the deep whirr of a large olive-green garbage eater, screaming radio-voices from a wooden painter's cradle clinging to the upper storey of a Free House, roar of the great wakening juggernauts rushing awesomely down this long but narrow pathway. From beneath the earth came tremors denoting the passage of huge subterranean worms that devoured and regurgitated human beings, and from the skies the thrum of choppers and the screech of higher, gleaming birds.

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