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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...No! – He floated over parkland and cried out, frightening the birds.—No more of these England-induced ambiguities, these Biblical – Satanic confusions! – Clarity, clarity, at all costs clarity! – This Shaitan was no fallen angel. – Forget those son-of-the-morning fictions; this was no good boy gone bad, but pure evil. Truth was, he wasn't an angel at all! – ‘He was of the djinn, so he transgressed.’ – Quran 18:50, there it was as plain as the day. – How much more straightforward this version was! How much more practical, down-to-earth, comprehensible! – Iblis/Shaitan standing for the darkness, Gibreel for the light.—Out, out with these sentimentalities: joining, locking together, love . Seek and destroy: that was all.

...O most slippery, most devilish of cities! – In which such stark, imperative oppositions were drowned beneath an endless drizzle of greys. – How right he'd been, for instance, to banish those Satanico-Biblical doubts of his, – those concerning God's unwillingness to permit dissent among his lieutenants, – for as Iblis/Shaitan was no angel, so there had been no angelic dissidents for the Divinity to repress; – and those concerning forbidden fruit, and God's supposed denial of moral choice to his creations; – for nowhere in the entire Recitation was that Tree called (as the Bible had it) the root of the knowledge of good and evil. It was simply a different Tree! Shaitan, tempting the Edenic couple, called it only ‘the Tree of Immortality’ – and as he was a liar, so the truth (discovered by inversion) was that the banned fruit (apples were not specified) hung upon the Death-Tree, no less, the slayer of men's souls. – What remained now of that morality-fearing God? Where was He to be found? – Only down below, in English hearts. – Which he, Gibreel, had come to transform.

Abracadabra!

Hocus Pocus!

But where should he begin? – Well, then, the trouble with the English was their:

Their:

In a word , Gibreel solemnly pronounced, their weather .

Gibreel Farishta floating on his cloud formed the opinion that the moral fuzziness of the English was meteorologically induced. ‘When the day is not warmer than the night,’ he reasoned, ‘when the light is not brighter than the dark, when the land is not drier than the sea, then clearly a people will lose the power to make distinctions, and commence to see everything – from political parties to sexual partners to religious beliefs – as much-the-same, nothing-to-choose, give-or-take. What folly! For truth is extreme, it is 50 and not thus , it is him and not her ; a partisan matter, not a spectator sport. It is, in brief, heated . City,’ he cried, and his voice rolled over the metropolis like thunder, ‘I am going to tropicalize you.’

Gibreel enumerated the benefits of the proposed metamorphosis of London into a tropical city: increased moral definition, institution of a national siesta, development of vivid and expansive patterns of behaviour among the populace, higher-quality popular music, new birds in the trees (macaws, peacocks, cockatoos), new trees under the birds (coco-palms, tamarind, banyans with hanging beards). Improved street-life, outrageously coloured flowers (magenta, vermilion, neon-green), spider-monkeys in the oaks. A new mass market for domestic air-conditioning units, ceiling fans, anti-mosquito coils and sprays. A coir and copra industry. Increased appeal of London as a centre for conferences, etc.; better cricketers; higher emphasis on ball-control among professional footballers, the traditional and soulless English commitment to ‘high workrate’ having been rendered obsolete by the heat. Religious fervour, political ferment, renewal of interest in the intelligentsia. No more British reserve; hot-water bottles to be banished forever, replaced in the foetid nights by the making of slow and odorous love. Emergence of new social values: friends to commence dropping in on one another without making appointments, closure of old folks’ homes, emphasis on the extended family. Spicier food; the use of water as well as paper in English toilets; the joy of running fully dressed through the first rains of the monsoon.

Disadvantages: cholera, typhoid, legionnaires’ disease, cockroaches, dust, noise, a culture of excess.

Standing upon the horizon, spreading his arms to fill the sky, Gibreel cried: ‘Let it be.’

Three things happened, fast.

The first was that, as the unimaginably colossal, elemental forces of the transformational process rushed out of his body (for was he not their embodiment ?), he was temporarily overcome by a warm, spinning heaviness, a soporific churning (not at all unpleasant) that made him close, just for an instant, his eyes.

The second was that the moment his eyes were shut the horned and goaty features of Mr. Saladin Chamcha appeared, on the screen of his mind, as sharp and well-defined as could be; accompanied, as if it were sub-titled there, by the adversary's name.

And the third thing was that Gibreel Farishta opened his eyes to find himself collapsed, once again, on Alleluia Cone's doorstep, begging her forgiveness, weeping O God, it happened, it really happened again .

*

She put him to bed; he found himself escaping into sleep, diving headlong into it, away from Proper London and towards Jahma, because the real terror had crossed the broken boundary wall, and stalked his waking hours.

‘A homing instinct: one crazy heading for another, Alicja said when her daughter phoned with the news. ‘You must be putting out a signal, some sort of bleeping thing.’ As usual, she hid her concern beneath wisecracks. Finally she came out with it: This time be sensible, Alleluia, okay? This time the asylum.’

‘We'll see, mother. He's asleep right now.’

‘So he isn't going to wake up?’ Alicja expostulated, then controlled herself. ‘All right, I know, it's your life. Listen, isn t this weather something? They say it could last months: “blocked pattern”, I heard on television, rain over Moscow, while here it s a tropical heatwave. I called Boniek at Stanford and told him: now we have weather in London, too.’

VI. Return to Jahilia

When Baal the poet saw a single teardrop the colour of blood emerging from the corner of the left eye of the statue of Al-Lat in the House of the Black Stone, he understood that the Prophet Mahound was on his way back to Jahilia after an exile of a quarter-century. He belched violently – an affliction of age, this, its coarseness seeming to correspond to the general thickening induced by the years, a thickening of the tongue as well as the body, a slow congealment of the blood, that had turned Baal at fifty into a figure quite unlike his quick young self. Sometimes he felt that the air itself had thickened, resisting him, so that even a shortish walk could leave him panting, with an ache in his arm and an irregularity in his chest... and Mahound must have changed, too, returning as he was in splendour and omnipotence to the place whence he fled empty-handed, without so much as a wife. Mahound at sixty-five. Our names meet, separate, and meet again, Baal thought, but the people going by the names do not remain the same. He left Al-Lat to emerge into bright sunlight, and heard from behind his back a little snickering laugh. He turned, weightily; nobody to be seen. The hem of a robe vanishing around a corner. These days, down-at-heel Baal often made strangers giggle in the street. ‘Bastard!’ he shouted at the top of his voice, scandalizing the other worshippers in the House. Baal, the decrepit poet, behaving badly again. He shrugged and headed for home.

The city of Jahilia was no longer built of sand. That is to say, the passage of the years, the sorcery of the desert winds, the petrifying moon, the forgetfulness of the people and the inevitability of progress had hardened the town, so that it had lost its old, shifting, provisional quality of a mirage in which men could live, and become a prosaic place, quotidian and (like its poets) poor. Mahound`s arm had grown long; his power had encircled Jahilia, cutting off its life-blood, its pilgrims and caravans. The fairs of Jahilia, these days, were pitiful to behold.

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