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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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He recovered.

The recovery was as mysterious as the illness, and as rapid. It, too, was called (by hospital, journalists, friends) an act of the Supreme. A national holiday was declared; fireworks were set off up and down the land. But when Gibreel regained his strength, it became clear that he had changed, and to a startling degree, because he had lost his faith.

On the day he was discharged from hospital he went under police escort through the immense crowd that had gathered to celebrate its own deliverance as well as his, climbed into his Mercedes and told the driver to give all the pursuing vehicles the slip, which took seven hours and fifty-one minutes, and by the end of the manoeuvre he had worked out what had to be done. He got out of the limousine at the Taj hotel and without looking left or right went directly into the great dining-room with its buffet table groaning under the weight of forbidden foods, and he loaded his plate with all of it, the pork sausages from Wiltshire and the cured York hams and the rashers of bacon from godknowswhere; with the gammon steaks of his unbelief and the pig's trotters of secularism; and then, standing there in the middle of the hall, while photographers popped up from nowhere, he began to eat as fast as possible, stuffing the dead pigs into his face so rapidly that bacon rashers hung out of the sides of his mouth.

During his illness he had spent every minute of consciousness calling upon God, every second of every minute. Ya Allah whose servant lies bleeding do not abandon me now after watching over me so long. Ya Allah show me some sign, some small mark of your favour, that I may find in myself the strength to cure my ills. O God most beneficent most merciful, be with me in this my time of need, my most grievous need. Then it occurred to him that he was being punished, and for a time that made it possible to suffer the pain, but after a time he got angry. Enough, God, his unspoken words demanded, why must I die when I have not killed, are you vengeance or are you love? The anger with God carried him through another day, but then it faded, and in its place there came a terrible emptiness, an isolation, as he realized he was talking to thin air , that there was nobody there at all, and then he felt more foolish than ever in his life, and he began to plead into the emptiness, ya Allah, just be there, damn it, just be. But he felt nothing, nothing nothing, and then one day he found that he no longer needed there to be anything to feel. On that day of metamorphosis the illness changed and his recovery began. And to prove to himself the non-existence of God, he now stood in the dining-hall of the city's most famous hotel, with pigs falling out of his face.

He looked up from his plate to find a woman watching him. Her hair was so fair that it was almost white, and her skin possessed the colour and translucency of mountain ice. She laughed at him and turned away.

‘Don't you get it?’ he shouted after her, spewing sausage fragments from the corners of his mouth. ‘No thunderbolt. That's the point.’

She came back to stand in front of him. ‘You're alive,’ she told him. ‘You got your life back. That's the point.’

He told Rekha: the moment she turned around and started walking back I fell in love with her. Alleluia Cone, climber of mountains, vanquisher of Everest, blonde yahudan, ice queen. Her challenge, change your life, or did you get it back for nothing , I couldn't resist.

‘You and your reincarnation junk,’ Rekha cajoled him. ‘Such a nonsense head. You come out of hospital, back through death's door, and it goes to your head, crazy boy, at once you must have some escapade thing, and there she is, hey presto, the blonde mame. Don't think I don't know what you're like, Gibbo, so what now, you want me to forgive you or what?’

No need, he said. He left Rekha's apartment (its mistress wept, face-down, on the floor); and never entered it again.

Three days after he met her with his mouth full of unclean meat Allie got into an aeroplane and left. Three days out of time behind a do-not-disturb sign, but in the end they agreed that the world was real, what was possible was possible and what was impossible was im-, brief encounter, ships that pass, love in a transit lounge. After she left, Gibreel rested, tried to shut his ears to her challenge, resolved to get his life back to normal. Just because he'd lost his belief it didn't mean he couldn't do his job, and in spite of the scandal of the ham-eating photographs, the first scandal ever to attach itself to his name, he signed movie contracts and went back to work.

And then, one morning, a wheelchair stood empty and he had gone. A bearded passenger, one Ismail Najmuddin, boarded Flight AI-420 to London. The 747 was named after one of the gardens of Paradise, not Gulistan but Bostan . ‘To be born again,’ Gibreel Farishta said to Saladin Chamcha much later, ‘first you have to die. Me, I only half-expired, but I did it on two occasions, hospital and plane, so it adds up, it counts. And now, Spoono my friend, here I stand before you in Proper London, Vilayet, regenerated, a new man with a new life. Spoono, is this not a bloody fine thing?’

*

Why did he leave?

Because of her, the challenge of her, the newness, the fierceness of the two of them together, the inexorability of an impossible thing that was insisting on its right to become.

And, or, maybe: because after he ate the pigs the retribution began, a nocturnal retribution, a punishment of dreams.

3

Once the flight to London had taken off, thanks to his magic trick of crossing two pairs of fingers on each hand and rotating his thumbs, the narrow, fortyish fellow who sat in a non-smoking window seat watching the city of his birth fall away from him like old snakeskin allowed a relieved expression to pass briefly across his face. This face was handsome in a somewhat sour, patrician fashion, with long, thick, downturned lips like those of a disgusted turbot, and thin eyebrows arching sharply over eyes that watched the world with a kind of alert contempt. Mr. Saladin Chamcha had constructed this face with care – it had taken him several years to get it just right – and for many more years now he had thought of it simply as his own – indeed, he had forgotten what he had looked like before it. Furthermore, he had shaped himself a voice to go with the face, a voice whose languid, almost lazy vowels contrasted disconcertingly with the sawn-off abruptness of the consonants. The combination of face and voice was a potent one; but, during his recent visit to his home town, his first such visit in fifteen years (the exact period, I should observe, of Gibreel Farishta's film stardom), there had been strange and worrying developments. It was unfortunately the case that his voice (the first to go) and, subsequently, his face itself, had begun to let him down.

It started – Chamcha, allowing fingers and thumbs to relax and hoping, in some embarrassment, that his last remaining superstition had gone unobserved by his fellow-passengers, closed his eyes and remembered with a delicate shudder of horror – on his flight east some weeks ago. He had fallen into a torpid sleep, high above the desert sands of the Persian Gulf, and been visited in a dream by a bizarre stranger, a man with a glass skin, who rapped his knuckles mournfully against the thin, brittle membrane covering his entire body and begged Saladin to help him, to release him from the prison of his skin. Chamcha picked up a stone and began to batter at the glass. At once a latticework of blood oozed up through the cracked surface of the stranger's body, and when Chamcha tried to pick off the broken shards the other began to scream, because chunks of his flesh were coming away with the glass. At this point an air stewardess bent over the sleeping Chamcha and demanded, with the pitiless hospitality of her tribe: Something to drink, sir? A drink? , and Saladin, emerging from the dream, found his speech unaccountably metamorphosed into the Bombay lilt he had so diligently (and so long ago!) unmade. ‘Achha, means what?’ he mumbled. ‘Alcoholic beverage or what?’ And, when the stewardess reassured him, whatever you wish, sir, all beverages are gratis, he heard, once again, his traitor voice: ‘So, okay, bibi, give one whiskysoda only.’

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