Salman Rushdie - The Satanic Verses

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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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Then there he lay at her feet, unconscious in the snow, taking her breath away with the impossibility of his being there at all, leading her momentarily to wonder if he might not be another in the series of visual aberrations – she preferred the neutral phrase to the more loaded visions – by which she'd been plagued ever since her decision to scorn oxygen cylinders and conquer Chomolungma on lung power alone. The effort of raising him, slinging his arm around her shoulders and half-carrying him to her flat – more than half, if the truth be told – fully persuaded her that he was no chimera, but heavy flesh and blood. Her feet stung her all the way home, and the pain reawakened all the resentments she'd stifled when she thought him dead. What was she supposed to do with him now, the lummox, sprawled out across her bed? God, but she'd forgotten what a sprawler the man was, how during the night he colonized your side of the bed and denuded you entirely of bedclothes. But other sentiments, too, had re-emerged, and these won the day; for here he was, sleeping beneath her protection, the abandoned hope: at long last, love.

He slept almost round the clock for a week, waking up only to satisfy the minimum requirements of hunger and hygiene, saying almost nothing. His sleep was tormented: he thrashed about the bed, and words occasionally escaped his lips: Jahilia, Al-Lat, Hind . In his waking moments he appeared to wish to resist sleep, but it claimed him, waves of it rolling over him and drowning him while he, almost piteously, waved a feeble arm. She was unable to guess what traumatic events might have given rise to such behaviour, and, feeling a little alarmed, telephoned her mother. Alicja arrived to inspect the sleeping Gibreel, pursed her lips, and pronounced: ‘He's a man possessed.’ She had receded more and more into a kind of Singer Brothers dybbukery, and her mysticism never failed to exasperate her pragmatic, mountain-climbing daughter. ‘Use maybe a suction pump on his ear,’ Alicja recommended. ‘That's the exit these creatures prefer.’ Allie shepherded her mother out of the door. ‘Thanks a lot,’ she said. ‘I’ll let you know.’

On the seventh day he came wide awake, eyes popping open like a doll's, and instantly reached for her. The crudity of the approach made her laugh almost as much as its unexpectedness, but once again there was that feeling of naturalness, of Tightness; she grinned, ‘Okay, you asked for it,’ and slipped out of the baggy, elasticated maroon pantaloons and loose jacket – she disliked clothes that revealed the contours of her body – and that was the beginning of the sexual marathon that left them both sore, happy and exhausted when it finally ground to a halt.

He told her: he fell from the sky and lived. She took a deep breath and believed him, because of her father's faith in the myriad and contradictory possibilities of life, and because, too, of what the mountain had taught her. ‘Okay,’ she said, exhaling. ‘I'll buy it. Just don't tell my mother, all right?’ The universe was a place of wonders, and only habituation, the anaesthesia of the everyday, dulled our sight. She had read, a couple of days back, that as part of their natural processes of combustion, the stars in the skies crushed carbon into diamonds. The idea of the – stars raining diamonds into the void: that sounded like a miracle, too. If that could happen, so could this. Babies fell out of zillionth-floor windows and bounced. There was a scene about that in François Truffaut's movie L'Argent du Poche ... She focused her thoughts. ‘Sometimes,’ she decided to say, ‘wonderful things happen to me, too.’

She told him then what she had never told any living being: about the visions on Everest, the angels and the ice-city. ‘It wasn't only on Everest, either,’ she said, and continued after a hesitation. When she got back to London, she went for a walk along the Embankment to try and get him, as well as the mountain, out of her blood. It was early in the morning and there was the ghost of a mist and the thick snow made everything vague. Then the icebergs came.

There were ten of them, moving in stately single file upriver. The mist was thicker around them, so it wasn't until they sailed right up to her that she understood their shapes, the precisely miniaturized configurations of the ten highest mountains in the world, in ascending order, with her mountain, the mountain bringing up the rear. She was trying to work out how the icebergs had managed to pass under the bridges across the river when the mist thickened, and then, a few instants later, dissolved entirely, taking the icebergs with it. ‘But they were there,’ she insisted to Gibreel. ‘Nanga Parbat, Dhaulagiri, Xixabangma Feng.’ He didn't argue. ‘If you say it, then I know it truly was so.’

An iceberg is water striving to be land; a mountain, especially a Himalaya, especially Everest, is land's attempt to metamorphose into sky; it is grounded flight, the earth mutated – nearly – into air, and become, in the true sense, exalted. Long before she ever encountered the mountain, Allie was aware of its brooding presence in her soul. Her apartment was full of Himalayas. Representations of Everest in cork, in plastic, in tile, stone, acrylics, brick jostled for space; there was even one sculpted entirely out of ice, a tiny berg which she kept in the freezer and brought out from time to time to show off to friends. Why so many? Because – no other possible answer – they were there . ‘Look,’ she said, stretching out a hand without leaving the bed and picking up, from her bedside table, her newest acquisition, a simple Everest in weathered pine. ‘A gift from the sherpas of Namche Bazar.’ Gibreel took it, turned it in his hands. Pemba had offered it to her shyly when they said goodbye, insisting it was from all the sherpas as a group, although it was evident that he'd whittled it himself. It was a detailed model, complete with the ice fall and the Hillary Step that is the last great obstacle on the way to the top, and the route they had taken to the summit was scored deeply into the wood. When Gibreel turned it upside down he found a message, scratched into the base in painstaking English. To Ali Bibi. We were luck. Not to try again .

What Allie did not tell Gibreel was that the sherpa's prohibition had scared her, convincing her that if she ever set her foot again upon the goddess-mountain, she would surely die, because it is not permitted to mortals to look more than once upon the face of the divine; but the mountain was diabolic as well as transcendent, or, rather, its diabolism and its transcendence were one, so that even the contemplation of Pemba's ban made her feel a pang of need so deep that it made her groan aloud, as if in sexual ecstasy or despair. ‘The Himalayas,’ she told Gibreel so as not to say what was really on her mind, ‘are emotional peaks as well as physical ones: like opera. That's what makes them so awesome. Nothing but the giddiest heights. A hard trick to pull off, though.’ Allie had a way of switching from the concrete to the abstract, a trope so casually achieved as to leave the listener half-wondering if she knew the difference between the two; or, very often, unsure as to whether, finally, such a difference could be said to exist.

Allie kept to herself the knowledge that she must placate the mountain or die, that in spite of the flat feet which made any serious mountaineering out of the question she was still infected by Everest, and that in her heart of hearts she kept hidden an impossible scheme, the fatal vision of Maurice Wilson, never achieved to this day. That is: the solo ascent.

What she did not confess: that she had seen Maurice Wilson since her return to London, sitting among the chimneypots, a beckoning goblin in plus-fours and tam-o'-shanter hat. – Nor did Gibreel Farishta tell her about his pursuit by the spectre of Rekha Merchant. There were still closed doors between them for all their physical intimacy: each kept secret a dangerous ghost. – And Gibreel, on hearing of Allie's other visions, concealed a great agitation behind his neutral words – if you say it, then I know – an agitation born of this further evidence that the world of dreams was leaking into that of the waking hours, that the seals dividing the two were breaking, and that at any moment the two firmaments could be joined, – that is to say, the end of all things was near. One morning Allie, awaking from spent and dreamless sleep, found him immersed in her long-unopened copy of Blake's Marriage of Heaven and Hell , in which her younger self, disrespectful of books, had made a number of marks: underlinings, ticks in the margins, exclamations, multiple queries. Seeing that she had awoken, he read out a selection of these passages with a wicked grin. ‘From the Proverbs of Hell,’ he began. ‘The lust of the goat is the bounty of God.’ She blushed furiously. ‘And what is more,’ he continued, ‘The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell . Then, lower down the page: This will come to pass by an improvement of sensual enjoyment . Tell me, who is this? I found her pressed in the pages.’ He handed her a dead woman's photograph: her sister, Elena, buried here and forgotten. Another addict of visions; and a casualty of the habit. ‘We don't talk about her much.’ She was kneeling unclothed on the bed, her pale hair hiding her face. ‘Put her back where you found her.’

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