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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The sun rose, unwrapping the misty city like a gift. Saladin Chamcha slept.

Which afforded him no respite: but returned him, rather, to that other night-street down which, in the company of the physiotherapist Hyacinth Phillips, he had fled towards his destiny, clip-clop, on unsteady hoofs; and reminded him that, as captivity receded and the city drew nearer, Hyacinth's face and body had seemed to change. He saw the gap opening and widening between her central upper incisors, and the way her hair knotted and plaited itself into medusas, and the strange triangularity of her profile, which sloped outwards from her hairline to the tip of her nose, swung about and headed in an unbroken line inwards to her neck. He saw in the yellow light that her skin was growing darker by the minute, and her teeth more prominent, and her body as long as a child's stick-figure drawing. At the same time she was casting him glances of an ever more explicit lechery, and grasping his hand in fingers so bony and inescapable that it was as though a skeleton had seized him and was trying to drag him down into a grave; he could smell the freshly dug earth, the cloying scent of it, on her breath, on her lips... revulsion seized him. How could he ever have thought her attractive, even desired her, even gone so far as to fantasize, while she straddled him and pummelled fluid from his lungs, that they were lovers in the violent throes of sexual congress?... The city thickened around them like a forest; the buildings twined together and grew as matted as her hair. ‘No light can get in here,’ she whispered to him. ‘It's black; all black.’ She made as if to lie down and pull him towards her, towards the earth, but he shouted, ‘Quick, the church,’ and plunged into an unprepossessing box-like building, seeking more than one kind of sanctuary. Inside, however, the pews were full of Hyacinths, young and old, Hyacinths wearing shapeless blue two-piece suits, false pearls, and little pill-box hats decked out with bits of gauze, Hyacinths wearing virginal white nightgowns, every imaginable form of Hyacinth, all singing loudly, Fix me, Jesus ; until they saw Chamcha, quit their spiritualling, and commenced to bawl in a most unspiritual manner, Satan, the Goat, the Goat , and suchlike stuff. Now it became clear that the Hyacinth with whom he'd entered was looking at him with new eyes, just the way he'd looked at her in the street; that she, too, had started seeing something that made her feel pretty sick; and when he saw the disgust on that hideously pointy and clouded face he just let rip. ‘Hubshees,’ he cursed them in, for some reason, his discarded mother-tongue. Troublemakers and savages, he called them. ‘I feel sorry for you,’ he pronounced. ‘Every morning you have to look at yourself in the mirror and see, staring back, the darkness: the stain, the proof that you're the lowest of the low.’ They rounded upon him then, that congregation of Hyacinths, his own Hyacinth now lost among them, indistinguishable, no longer an individual but a woman-like-them, and he was being beaten frightfully, emitting a piteous bleating noise, running in circles, looking for a way out; until he realized that his assailants’ fear was greater than their wrath, and he rose up to his full height, spread his arms, and screamed devil-sounds at them, sending them scurrying for cover, cowering behind pews, as he strode bloody but unbowed from the battlefield.

Dreams put things in their own way; but Chamcha, coming briefly awake as his heartbeat skipped into a new burst of syncopations, was bitterly aware that the nightmare had not been so very far from the truth; the spirit, at least, was right. – That was the last of Hyacinth, he thought, and faded away again. – To find himself shivering in the hall of his own home while, on a higher plane, Jumpy Joshi argued fiercely with Pamela. With my wife .

And when dream-Pamela, echoing the real one word for word, had rejected her husband a hundred and one times, he doesn't exist, it, such things are not so , it was Jamshed the virtuous who, setting aside love and desire, helped. Leaving behind a weeping Pamela – Don't you dare bring that back here , she shouted from the top floor – from Saladin's den – Jumpy, wrapping Chamcha in sheepskin and blanket, led enfeebled through the shadows to the Shaandaar Café, promising with empty kindness: ‘It'll be all right. You'll see. It'll all be fine.’

When Saladin Chamcha awoke, the memory of these words filled him with a bitter anger. Where's Farishta, he found himself thinking. That bastard: I bet he's doing okay. – It was a thought to which he would return, with extraordinary results; for the moment, however, he had other fish to fry.

I am the incarnation of evil, he thought. He had to face it. However it had happened, it could not be denied. I am no longer myself , or not only. I am the embodiment of wrong, of what-we-hate, of sin.

Why? Why me?

What evil had he done – what vile thing could he, would he do?

For what was he – he couldn't avoid the notion – being punished? And, come to that, by whom ? (I held my tongue.)

Had he not pursued his own idea of the good , sought to become that which he most admired, dedicated himself with a will bordering on obsession to the conquest of Englishness? Had he not worked hard, avoided trouble, striven to become new? Assiduity, fastidiousness, moderation, restraint, self-reliance, probity, family life: what did these add up to if not a moral code? Was it his fault that Pamela and he were childless? Were genetics his responsibility? Could it be, in this inverted age, that he was being victimized by – the fates, he agreed with himself to call the persecuting agency – precisely because of his pursuit of ‘the good’? – That nowadays such a pursuit was considered wrong-headed, even evil? – Then how cruel these fates were, to instigate his rejection by the very world he had so determinedly courted; how desolating, to be cast from the gates of the city one believed oneself to have taken long ago! – What mean small-mindedness was this, to cast him back into the bosom of his people , from whom he'd felt so distant for so long! – Here thoughts of Zeeny Vakil welled up, and guiltily, nervously, he forced them down again.

His heart kicked him violently, and he sat up, doubled over, gasped for breath. Calm down, or it's curtains. No place for such stressful cogitations: not any more . He took deep breaths; lay back; emptied his mind. The traitor in his chest resumed normal service.

No more of that, Saladin Chamcha told himself firmly. No more of thinking myself evil. Appearances deceive; the cover is not the best guide to the book. Devil, Goat, Shaitan? Not I.

Not I: another.

Who?

*

Mishal and Anahita arrived with breakfast on a tray and excitement all over their faces. Chamcha devoured cornflakes and Nescafe while the girls, after a few moments of shyness, gabbled at him, simultaneously, non-stop. ‘Well, you've set the place buzzing and no mistake.’ – ‘You haven't gone and changed back in the night or anything?’ – ‘Listen, it's not a trick, is it? I mean, it's not make-up or something theatrical? – I mean, Jumpy says you're an actor, and I only thought, – I mean,’ and here young Anahita dried up, because Chamcha, spewing cornflakes, howled angrily: ‘Make-up? Theatrical? Trick ?’

‘No offence,’ Mishal said anxiously on her sister's behalf. ‘It's just we've been thinking, know what I mean, and well it'd just be awful if you weren't, but you are, ‘course you are, so that's all right,’ she finished hastily as Chamcha glared at her again. – ‘Thing is,’ Anahita resumed, and then, faltering, ‘Mean to say, well, we just think it's great.’ – ‘You, she means,’ Mishal corrected. ‘We think you're, you know.’ – ‘Brilliant,’ Anahita said and dazzled the bewildered Chamcha with a smile. ‘Magic. You know. Extreme .’

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