{"id":418,"date":"2014-06-11T23:21:50","date_gmt":"2014-06-11T23:21:50","guid":{"rendered":"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/?p=418"},"modified":"2017-05-31T18:57:22","modified_gmt":"2017-05-31T18:57:22","slug":"rushdie-salman","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/11\/rushdie-salman\/","title":{"rendered":"Rushdie, Salman"},"content":{"rendered":"<h1><\/h1>\n<h1>Biography<\/h1>\n<figure id=\"attachment_2423\" aria-describedby=\"caption-attachment-2423\" style=\"width: 199px\" class=\"wp-caption alignright\"><a href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/398px-Salman_Rushdie_2011_Shankbone.jpg\" rel=\"attachment wp-att-2423\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-2423\" src=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/398px-Salman_Rushdie_2011_Shankbone-199x300.jpg\" alt=\"Image by David Shankbone\/CC Licensed\" width=\"199\" height=\"300\" srcset=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/398px-Salman_Rushdie_2011_Shankbone-199x300.jpg 199w, https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/398px-Salman_Rushdie_2011_Shankbone.jpg 398w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/a><figcaption id=\"caption-attachment-2423\" class=\"wp-caption-text\">Image by David Shankbone\/CC Licensed<\/figcaption><\/figure>\n<p>Salman Rushdie was born in Bombay in 1947, just months before the <a title=\"Partition of India\" href=\"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/partition-of-india\/\" target=\"_blank\" rel=\"noopener noreferrer\">Partition of British India<\/a>. His father, Ahmed, was a businessman and his mother, Negin, was a teacher. He grew up loving the escape literature and film offered, and he wrote his first story when he was ten years old. He encountered some of his earliest influences at a young age, including\u00a0<em>The Wizard of Oz<\/em>, Superman comics, and <a title=\"Bollywood and Women\" href=\"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/bollywood-and-women\/\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood <\/a>movies.<\/p>\n<p>He left India at the age of fourteen to attend Rugby School in England, while his family left India for Pakistan. Of his time at Rugby, he says: \u201cI had three things wrong, I was foreign, I was clever and I was bad at games, and it seemed to me that I could have made any two of those mistakes and I\u2019d have been alright. . . . If I\u2019d been any two of those things I\u2019d have got away with it \u2014 three was unforgivable.\u201d He then studied history at King\u2019s College, Cambridge, and after graduation, he earned a living working in advertising while writing his first novel\u00a0<em>Grimus<\/em>.<\/p>\n<p>The positive reception his second novel,\u00a0<em>Midnight\u2019s Children<\/em>, received allowed Rushdie to become a full-time writer, crafting vivid novels about life in and out of modern India and Pakistan. The success of\u00a0<em>Midnight\u2019s Children<\/em>\u00a0made Rushdie the voice of Indians writing in England, promoting fellow writers and editing the volume\u00a0<em>Indian Writing in English<\/em>.<\/p>\n<p>With the publication of\u00a0<em>The Satanic Verses\u00a0<\/em>in 1988, Rushdie became the target of a fatwa, or a religious edict, supported by Iran\u2019s religious leader Ayatollah Khomeini. Since the fatwa called for his death, Rushdie went into hiding in February 1989. Many bookstores in the U.K. and the United States received threats regarding his book. The Japanese translator of\u00a0<em>The Satanic Verses<\/em>\u00a0was stabbed to death, and both the Italian translator and the Norwegian publisher were attacked but survived. Protected by the Special Branch, Rushdie moved from one secure house to another, communicating to his friends and family via secure telephone line and fax. In 1999, the fatwa was finally lifted, and Rushdie was able to appear in public again.<\/p>\n<p>In 2005, Salman Rushdie joined the faculty of Emory University as Distinguished Writer in Residence. He also placed his archive at Emory\u2019s Woodruff Library, which opened to the public in Spring 2010. His memoir\u00a0<em>Joseph Anton: A Memoir\u00a0<\/em>came out in 2012.<\/p>\n<p>See:\u00a0<a title=\"Magical Realism\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/magical-realism\/\" target=\"_blank\" rel=\"noopener noreferrer\">Magical Realism<\/a>,\u00a0<a title=\"Postcolonial Novel\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/postcolonial-novel\/\" target=\"_blank\" rel=\"noopener noreferrer\">Postcolonial Novel<\/a>,\u00a0<a title=\"Partition of India\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/partition-of-india\/\" target=\"_blank\" rel=\"noopener noreferrer\">Partition of India<\/a><\/p>\n<h3><em>Midnight\u2019s Children<\/em>\u00a0and The Booker Prize<\/h3>\n<div>\n<figure id=\"attachment_503\" aria-describedby=\"caption-attachment-503\" style=\"width: 91px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/MC.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-503\" src=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/MC.jpg\" alt=\"Midnight's Children, 1981\" width=\"91\" height=\"140\" \/><\/a><figcaption id=\"caption-attachment-503\" class=\"wp-caption-text\">Midnight&#8217;s Children, 1981<\/figcaption><\/figure>\n<\/div>\n<p>Rushdie\u2019s second novel,\u00a0<em>Midnight\u2019s Children<\/em>, depicts the condition of India through the voice and family of Saleem Sinai, a child born at the moment of India\u2019s independence. His momentous birth endows he and 1001 other children born close to the stroke of midnight with special powers. Saleem \u00a0believes his birth, marked by a letter from Prime Minister Nehru, determine that his fate is bound up with the nation\u2019s.<\/p>\n<p>Written in Saleem\u2019s irreverent, humorous voice, Rushdie fictionalizes India\u2019s recent political and social history. Using his family and their friends as a template for the various factions in India\u2019s political, business, and military scenes, Saleem chronicles a military coup in Pakistan, the war between Pakistan and India, and Indira Gandhi\u2019s Emergency.<\/p>\n<p><em>Midnight\u2019s Children<\/em>\u00a0won the\u00a0<a title=\"Booker Prize\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/booker-prize\/\" target=\"_blank\" rel=\"noopener noreferrer\">Booker Prize<\/a>\u00a0in 1981, the Booker of Bookers in 1993, and Best of the Booker in 2008. It has been adapted for the stage, and attempts have been made to adapt it for television but have failed. Rushdie worked with filmmaker <a title=\"Mehta, Deepa\" href=\"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/11\/mehta-deepa\/\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta<\/a> to turn the novel into a film.<\/p>\n<h3>Themes in Rushdie\u2019s Writing<\/h3>\n<p>Many themes in Rushdie\u2019s writing weave themselves through his work, although history always plays an integral role in establishing the framework of his stories. According to Rushdie: \u201cLiterature revalues history by shifting the point of view, by demystifying, by seeing what was always there to be seen, what we would have seen if the conjurers of power had not been trying so hard to distract our attention.\u201d History provides Rushdie with the backdrop to develop motifs exploring the complexities of identity, migration, politics, and love.<\/p>\n<h3>Major Works<\/h3>\n<ul>\n<li>Rushdie, Salman.<em>\u00a0East, West. \u00a0<\/em>London: J. Cape, 1994.<\/li>\n<li><em>\u2014. The Enchantress of Florence.<\/em>\u00a0London: Vintage, 2009.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Fury.<\/em>\u00a0London: J. Cape, 2001.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Grimus.<\/em>\u00a0London: V. Gollancz, 1975.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>The Ground Beneath Her Feet<\/em>. London: J. Cape, 1999.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Haroun and the Sea of Stories.<\/em>\u00a0London: Granta Books in association with Penguin, 1991.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Imaginary Homelands.<\/em>\u00a0London: Granta Books in association with Penguin, 1991.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>The Jaguar Smile.<\/em>\u00a0London: Pan Books in association with J. Cape, 1987.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Midnight\u2019s Children<\/em>. \u00a0London: J. Cape, 1981.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Mirrorwork: 50 Years of Indian Writing<\/em>\u00a0(edited with Elizabeth West). \u00a0New York: H. Holt and Co., 1997.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>The Moor\u2019s Last Sigh.\u00a0<\/em>London: J. Cape, 1995.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>The Satanic Verses<\/em>. London: Viking, 1988.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Shalimar the Clown<\/em>. \u00a0London: J. Cape, 2005.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Shame<\/em>. \u00a0New York: Knopf, 1983.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>Step Across this Line.\u00a0<\/em>New York: Random House, 2002.<\/li>\n<li><em>\u2014. Two Years Eight Months and Twenty-Eight Nights.\u00a0<\/em>New York: Random House, 2016.<\/li>\n<li><em><em>\u2014.\u00a0<\/em>The Wizard of Oz<\/em>. \u00a0London: BFI Publishing, 1992.<\/li>\n<\/ul>\n<h3>Related Links<\/h3>\n<p>Rushdie Official Website<br \/>\n<a href=\"http:\/\/www.randomhouse.com\/rhpg\/features\/salmanrushdie\/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.randomhouse.com\/rhpg\/features\/salmanrushdie\/index.html<\/a><br \/>\nPostcolonial Web<br \/>\n<a href=\"http:\/\/www.postcolonialweb.org\/pakistan\/literature\/rushdie\/rushdieov.html\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.postcolonialweb.org\/pakistan\/literature\/rushdie\/rushdieov.html<\/a><br \/>\nContemporary Writers<br \/>\n<a href=\"http:\/\/literature.britishcouncil.org\/salman-rushdie\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/literature.britishcouncil.org\/salman-rushdie<\/a><br \/>\nOverview of Rushdie\u2019s Life and Works<br \/>\n<a href=\"http:\/\/www.kirjasto.sci.fi\/rushdie.htm\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.kirjasto.sci.fi\/rushdie.htm<\/a><br \/>\nRushdie on\u00a0<em>The Colbert Report<br \/>\n<\/em><a href=\"http:\/\/www.colbertnation.com\/the-colbert-report-videos\/86627\/may-09-2007\/salman-rushdie\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.colbertnation.com\/the-colbert-report-videos\/86627\/may-09-2007\/salman-rushdie<\/a><br \/>\nDavid Cronenberg Interviews Rushdie<br \/>\n<a href=\"http:\/\/www.davidcronenberg.de\/cr_rushd.htm\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.davidcronenberg.de\/cr_rushd.htm<\/a><br \/>\nSalon Magazine Interview with Rushdie<br \/>\n<a href=\"http:\/\/www.salon.com\/topic\/salman_rushdie\/\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.salon.com\/topic\/salman_rushdie\/<\/a><br \/>\nSalman Rushdie\u2019s Papers at Emory University<br \/>\n<a title=\"http:\/\/findingaids.library.emory.edu\/documents\/rushdie1000\/\" href=\"http:\/\/marbl.library.emory.edu\/collection-overview\/featured-collections\/salman-rushdie-papers\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/marbl.library.emory.edu\/collection-overview\/featured-collections\/salman-rushdie-papers<\/a><\/p>\n<p>Section Author: Kathleen Hanggi, August 2009<\/p>\n<hr \/>\n<p><a name=\"grimus\"><\/a><\/p>\n<h3><em>Grimus<\/em><\/h3>\n<h4>Introduction<\/h4>\n<figure id=\"attachment_2424\" aria-describedby=\"caption-attachment-2424\" style=\"width: 193px\" class=\"wp-caption alignright\"><a href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/Grimus_cover.jpg\" rel=\"attachment wp-att-2424\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2424 size-medium\" src=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/Grimus_cover-193x300.jpg\" alt=\"grimus_cover\" width=\"193\" height=\"300\" srcset=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/Grimus_cover-193x300.jpg 193w, https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/Grimus_cover.jpg 220w\" sizes=\"auto, (max-width: 193px) 100vw, 193px\" \/><\/a><figcaption id=\"caption-attachment-2424\" class=\"wp-caption-text\">Grimus, 1975<\/figcaption><\/figure>\n<p>In the introduction to his 1991 volume of essays,\u00a0<em>Imaginary Homelands<\/em>, Salman Rushdie mentions his first published novel, \u201c<em>Grimus<\/em>, which to put it mildly, bombed\u201d (1). Not only was the book denied the critical acclaim and commercial success its author might have hoped for, but it has also been largely ignored by postcolonial critics, which is most unusual for a novel by this author.<\/p>\n<h4>Synopsis<\/h4>\n<p><em>Grimus<\/em>\u00a0is a \u201cfuturistic fantasy\u201d (Amanuddin 42) about an immortal Native American called Flapping Eagle, whose quest is to find his sister Bird-Dog and vanquish the arch-villain Grimus, ruler of Calf Island, which is \u201cnot quite\u201d in the Mediterranean (Grimus 14). Flapping Eagle and Bird-Dog belong to the fictitious Axona Amerindians,who live in complete isolation near a town called Phoenix (which, incidentally has very little to do with its Arizonian counterpart). Due to Flapping Eagle\u2019s posthumous birth, the siblings are virtual outcasts, which is why they have little difficulty in leaving their people when they are offered immortality. Flapping Eagle hesitates for a while and loses track of his sister, for whom he then searches for seven centuries. An old acquaintance enables him to travel to another dimension and reach Calf Island, where he meets gravedigger-cum-guide Virgil Jones. Virgil helps him in his difficult ascent of Calf Mountain, at whose summit Flapping Eagle wants to challenge his antagonist and doppelganger, Grimus.<\/p>\n<p>In the middle section of the novel, Flapping Eagle abandons his companion and attempts to settle down in the town of K (whose name is the Latin equivalent to the Arabic letter Qaf\/K (hence \u201cCalf Island\u201d), where he wreaks havoc on its population by depriving some inhabitants of the absolute certainty that is necessary to fight off the \u201cDimension-fever\u201d caused by Grimus. After this interlude, Flapping Eagle finishes his quest by overcoming Grimus and destroying the mysterious \u201cStone Rose\u201d which Grimus had used to hold the place under his spell. Following that event, the island itself is utterly destroyed.<\/p>\n<h4><em>Grimus<\/em>\u00a0and Postcolonialism<\/h4>\n<p>The novel contains references to numerous works of literature such as Dante\u2019s\u00a0<em>Divine Comedy<\/em>, Farid-Ud-Din Attar\u2019s12th-century Sufi poem \u201cThe Conference of the Birds,\u201d Samuel Johnson\u2019s\u00a0<em>Rasselas<\/em>,\u00a0<em>Hamlet<\/em>,\u00a0<em>The Tempest<\/em>,\u00a0<em>Robinson Crusoe<\/em>, and\u00a0<em>The Edda<\/em>\u00a0as well as to writers like Coleridge, Keats, and Samuel Beckett, to name but a few. There are parallels to Thomas Mann\u2019s\u00a0<em>The Magic Mountain<\/em>\u00a0\u2013the protagonist, the discussion of time, the self-obsessed community of people from different nations, and the affair with a Russian woman. In addition to these allusions, Grimus also contains \u201ctentative steps towards an examination of post-coloniality (Cundy, \u201cRehearsing Voices\u201d 129). However, Rushdie touches topics such as\u00a0<a title=\"Mimicry, Ambivalence, and Hybridity\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/mimicry-ambivalence-and-hybridity\/\" target=\"_blank\" rel=\"noopener noreferrer\">hybridity<\/a>,\u00a0<a title=\"Nationalism\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/nationalism\/\" target=\"_blank\" rel=\"noopener noreferrer\">nationhood<\/a>, immigration, imperialism, exile and so forth only in passing and at no time is their treatment anywhere as profound as in his later work. \u201cFlapping Eagle,\u201d Cundy writes, \u201cis at one and the same time the hero of a nascent and tentative study of migrant identity, and a chaotic fantasy with no immediately discernible arguments of any import\u201d (\u201cRehearsing Voices\u201d 131). Syed criticizes the book for its \u201cfailure to countenance postcolonial concerns\u201d(Syed 148).<\/p>\n<h4>Conclusion<\/h4>\n<p>Apart from the \u201cflimsy\u201d treatment of postcolonial issues (Cundy, \u201cRehearsing Voices\u201d 134),\u00a0<em>Grimus<\/em>\u00a0has been criticized for its \u201coften tedious mimicry of other writers\u201d (Cundy,\u00a0<em>Salman Rushdie<\/em>\u00a012), its generic insecurity between science-fiction and fantasy, its misogyny\u2013\u201dI didn\u2019t blame the ladies, dear sweet bebummed betitted things.\u201d (Grimus212) \u2014 and particularly for its adolescent puns: \u201cThe people, like the names, the events and encounters, are carried to irrational and immoderate extremes which only a very youthful sensibility could enjoy or even envisage\u201d (Walsh 120). Indeed, the glaringly suggestive names, at times reminiscent of classic Star Trek, might lead one to regard\u00a0<em>Grimus<\/em>\u00a0not so much as postcolonial literature but rather as part of the Douglas Adams\/Terry Pratchett tradition of science fiction\/fantasy writing. The problem with this novel is that science fiction is usually a fundamentally rational genre. In\u00a0<em>Grimus<\/em>\u00a0it seems as if \u201canything goes,\u201d which makes the story seem arbitrary (Cundy, \u201cRehearsing Voices\u201d 136).<\/p>\n<p>At times we get a glimpse of the more mature Rushdie of his later, superior works \u2014 \u201c<em>Grimus<\/em>\u00a0is in many ways an early manifesto of Rushdie\u2019s heterodoxical themes and innovative techniques\u201d (Syed 135).<\/p>\n<p>Structural and stylistic similarities might lead one to wonder whether the book Rushdie really had in mind when tearing apart Umberto Eco\u2019s\u00a0<em>Foucault\u2019s Pendulum<\/em>\u00a0was actually\u00a0<em>Grimus<\/em>: \u201cIt is humourless, devoid of characterization, entirely free of anything resembling a credible spoken word, and mind-numbingly full of gobbledygook of all sorts. Reader: I hated it\u201d (Rushdie,\u00a0<em>Imaginary Homelands<\/em>\u00a0270).<\/p>\n<h4>Works Cited<\/h4>\n<ul>\n<li>Amanuddin, Syed. \u201cThe Novels of Salman Rushdie: Mediated Reality as Fantasy.\u201d\u00a0<em>World Literature Today<\/em>\u00a063:1 (1989): 42-45.<\/li>\n<li>Cundy, Catherine. \u201c\u2018Rehearsing Voices\u2019: Salman Rushdie\u2019s\u00a0<em>Grimus<\/em>\u201c.\u00a0<em>Ariel<\/em>\u00a027:1 (1992): 128-38.<\/li>\n<li>Cundy, Catherine.\u00a0<em>Salman Rushdi<\/em>e. Manchester: Manchester University Press,1996.<\/li>\n<li>Hume, Kathryn. \u201cTaking a Stand while Lacking a Center: Rushdie\u2019s Postmodern Politics.\u201d\u00a0<em>Philological Quarterly<\/em>\u00a074:2 (1995): 209-30.<\/li>\n<li>Rushdie, Salman.\u00a0<em>Grimus<\/em>. London: Vintage, 1996.<\/li>\n<li>\u2014.\u00a0\u00a0<em>Imaginary Homelands. Essays and Criticism 1981-1991<\/em>. London: Granta\/Penguin, 1991.<\/li>\n<li>Syed, Mujeebuddin. \u201cWarped Mythologies: Salman Rushdie\u2019s\u00a0<em>Grimus<\/em>.\u201d\u00a0<em>Ariel<\/em>\u00a025:4 (1994): 135-52.<\/li>\n<li>Walsh, William.\u00a0<em>Indian Literature in English<\/em>. Harlow: Longman, 1990.<\/li>\n<\/ul>\n<h4>Related Sites<\/h4>\n<p>A\u00a0French review\u00a0of\u00a0<em>Grimus<br \/>\n<a href=\"http:\/\/sf.emse.fr\/AUTHORS\/SRUSHDIE\/srgrim.html\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/sf.emse.fr\/AUTHORS\/SRUSHDIE\/srgrim.html\u00a0<\/a><\/em><\/p>\n<p>Section Author:\u00a0 Hans-Georg Erney, Fall 1998<a name=\"Education\"><\/a><\/p>\n<hr \/>\n<p><a name=\"references\"><\/a><\/p>\n<h3>References in\u00a0<em>The Moor\u2019s Last Sigh<\/em><\/h3>\n<h4>Purpose<\/h4>\n<p>The purpose of this site is to provide a glossary to some of the references in\u00a0<em>The Moor\u2019s Last Sigh<\/em>. In addition, literary works and characters that are mentioned frequently or play a major role in the text are listed along with a brief description. Links to appropriate web sites for further information have also been included.<\/p>\n<p>See also:\u00a0<a title=\"Jews in India\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/jews-in-india\/\" target=\"_blank\" rel=\"noopener noreferrer\">Jews in India<\/a>,\u00a0<a title=\"Spice Trade in India\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/21\/spice-trade-in-india\/\" target=\"_blank\" rel=\"noopener noreferrer\">Spice Trade in India<\/a><\/p>\n<h4>Annotations<\/h4>\n<p>Pg. 4 line 3 top of page; \u201cVirgils\u201d; Reference to Dante\u2019s Inferno. Virgil led the speaker of that poem on a guided tour of Hell.<\/p>\n<p>Pg. 5 second full paragraph; \u201cParadise and Pandaemonium\u201d; Reference to John Milton\u2019s epic poem of the struggle between heaven and hell,\u00a0<em>Paradise Lost<\/em>. Paradise is of course Heaven, whereas Pandaemonium is the great city of Hell. This and the above reference can also be seen on page 126.<\/p>\n<p>Pg. 11 second to last paragraph; \u201cWhat shall we do with a shrunken tailor?\u201d; Sailing song, \u201cWhat shall we do with a drunken sailor?\u201d The song goes onto suggest a number of methods of sobering him up including forcing him to drink from the bilges (shipboard sewers).<\/p>\n<p>Pg. 29 second paragraph; \u201cSee See See Pee\u201d; CCCP- Cyrillic for U.S.S.R (see below)<\/p>\n<p>Pg. 31 third paragraph; \u201cCyrillic script\u201d; Russian alphabet, based on Greek and Latin, invented by Byzantine monks to visually represent the sounds of the spoken Russian language.<\/p>\n<p>Pg. 68 second paragraph; \u201cGreat family trees from little corns.\u201d Play on words between acorns and peppercorns, spices and pepper being the foundations of the da Gama\/Zogoiby family.<\/p>\n<p>Pg. 73 fifth paragraph; \u201cObeah, jadoo, fo, fum, chicken entrails, kingdom come. Ju-ju, voodoo, fee, fi, piddle cocktails, time to die.\u201d From Jack the Giant Killer\u2019s giant\u2019s \u201cFee Fie Fo Fum, I smell the blood of an Englishman?\u201d<\/p>\n<p>Pg. 94 first paragraph; \u201cthis church that only startofied because some Piss-in-Boots old king wanted a sexy younger wife.\u201d Refers to the Church of England, which was founded by Henry VIII in order to divorce Catherine of Aragon, which the Pope in Rome, Leo X, would not allow.<\/p>\n<p>Pg. 115 last paragraph; \u201cCyrano-fashion, he hired a local accordionist and ballad-singer who serenaded her in the courtyard below her window, while he, Abraham, stood idiotically beside the music-man and mouthed the words of the old love-songs.\u201d Cyrano de Bergerac helped his friend to win the heart of his lady love by serving as his friend\u2019s voice while the friend lip-synched.<\/p>\n<p>Pg. 130 \u201cCrazy as a monkey in a monkey-puzzle tree.\u201d A monkey-puzzle is a particularly evil tree. Every possible surface is covered by extremely sharp spines and in fact the leaves themselves are pointed at the apex and capable of piercing the skin.<\/p>\n<p>Pg. 137 second paragraph; \u201cBollywood\u201d Indian Subcontinental counterpart to our own Hollywood<\/p>\n<p>Pg. 241 paragraph 3; \u201ca Kaspar Hauser, a Mowgli.\u201d Kasper Hauser was the title character in a play\/screenplay by Werner Herzog called The Enigma of Kasper Hauser, also known as\u00a0<em>Everyman for Himself and God Against All<\/em>. Mowgli was raised by wild animals instead of his own human kind in Rudyard Kipling\u2019s\u00a0<em>The Jungle Book<\/em>.<\/p>\n<p>Pg. 245 paragraph 4; \u201cLaurel and Hardon\u201d Phallic pun on Laurel and Hardy, one of whom was tall and thin, whereas the other was short and stout.<\/p>\n<p>Pg. 292 paragraph 4; \u201cgo ask Alice, as the old song goes.\u201d There was a song about Alice in Wonderland being a metaphor for drug use by Jefferson Airplane called White Rabbit which this line is a direct quote from.<\/p>\n<p>Pg. 296 first paragraph; \u201cI will wear my shame and name it with pride \u2014 will wear it, great Aurora, like a scarlet letter blazoned on my breast.\u201d Alludes to\u00a0<em>The Scarlet Letter<\/em>\u00a0by Nathanial Hawthorne, where the heroine wore a scarlet \u201cA\u201d on her breast to show she was an adulteress. Shows up with an interesting correlation between the Moor\u2019s love for Uma as a betrayal of his love for his mother, Aurora.<\/p>\n<p>Pg. 417 third paragraph; \u201cBlofeld, Mogambo, Don Vito Corleone:\u201d The first is one of James Bond\u2019s nemeses, the second is described in the book as an Indian movie mob boss, and the last is none other than\u00a0<em>The Godfather<\/em>\u00a0of the American movie series about the Sicilian Mafia.<\/p>\n<p>Pg. 418 bottom of page; \u201cI was fortune\u2019s, and my parents\u2019, fool.\u201d Similar to Romeo\u2019s \u201cI am Fortune\u2019s fool!\u201d in Shakespeare\u2019s \u201cRomeo and Juliet\u201d.<\/p>\n<p>Pg. 421 third paragraph; \u201cScherazade\u201d Classic adventure tale, Classical music work by Rimsky-Korssakoff.<\/p>\n<p>Pg. 433 second paragraph; \u201cArthur sleeps in Avalon, Barbarossa in his cave. Finn MacCool lies in the Irish hillsides and the Worm Ouroboros on the bed of the Sundering Sea. Australia\u2019s ancestors, the Wandjina, take their ease underground, and somewhere, in a tangle of thorns, a beauty in a glass coffin awaits a prince\u2019s kiss.\u201d Arthur is King Arthur, asleep and waiting for a new world. Finn MacCool is a giant in Irish legend, who sleeps as well. The Worm Ouroboros appears in a book of the same name by E.R. Eddison and sleeps until wakened by dramatic change. The Wandjina created the Australian continent and the aborigines of that island (according to legend). The beauty under glass is none other than Sleeping Beauty. All of these characters\/entities are sleeping and go to sleep in one world but will awake in a different one.<\/p>\n<h4>Major Literary Sources and Characters Quoted \/ Mentioned Repeatedly or Significantly<\/h4>\n<p><em>The Bible<\/em>, especially sections dealing with Abraham and his sacrifice<br \/>\nShakespeare\u2019s\u00a0<em>Merchant of Venice<\/em>,\u00a0<em>Othello<\/em>, and\u00a0<em>Romeo and Juliet<\/em><br \/>\nLewis Carroll\u2019s\u00a0<em>Alice in Wonderland<\/em><br \/>\nCyrano de Bergerac<br \/>\nHans Christian Anderson\u2019s story about the Snow Queen<br \/>\nRumplestiltskin<br \/>\nEl Cid Campeador\/Rodrigo Diaz de Vivar<br \/>\nXimena,\/Chimene, Ayxa<br \/>\nIndian Holy Books<br \/>\nMarvell\u2019s poem, On a Drop of Dew<br \/>\nJohn Milton\u2019s\u00a0<em>Paradise Lost<\/em>\u00a0and\u00a0<em>Paradise Regained<\/em><br \/>\nDante\u2019s\u00a0<em>Divine Comedy<\/em>, specifically Inferno<\/p>\n<h4>Related Sites<\/h4>\n<p>Myths &amp; Legends Website<br \/>\n<a href=\"http:\/\/home.comcast.net\/~chris.s\/myth.html\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/home.comcast.net\/%7Echris.s\/myth.html<\/a><\/p>\n<p>Section Author: Frederick (John) Bailey, Fall 1997<\/p>\n<hr \/>\n<p><a name=\"female\"><\/a><\/p>\n<h3>Female Characters<\/h3>\n<h4>Women As Matriarchs<\/h4>\n<p>In both\u00a0<em>The Moor\u2019s Last Sigh<\/em>\u00a0and\u00a0<em>Shame<\/em>, Rushdie depicts prominent female characters (Epifania da Gama and Bariamma Ryder) as the matriarchs of their families. Although this may seem odd in such a male-dominated society, in southern India matriarchy is actually a common family organization, and women even own property jointly with men (Visram 11). Historical records dating back to early south Indian people frequently include metronyms, perhaps signifying \u201ca lingering influence of the old Dravidian mother right in an otherwise patrilineal ordering of society\u201d (Singh 226).<\/p>\n<h4>As Mothers<\/h4>\n<p>Due to Hinduism\u2019s strong influence in Indian society, a woman\u2019s foremost role in life is becoming a mother; moreover, her value depends upon her ability to give birth to sons (Contursi 48). Any power she wields comes from her ability to procreate, not from her dominance over men (Contursi49). An example of this attitude is evidenced in\u00a0<em>Shame<\/em>\u00a0when Bilqu\u00ecs Hyder laments over her inability to produce a male child: \u201cHe wanted a hero of a son; I gave him an idiot female instead . . . I must accept it: she is my shame\u201d (Rushdie 101). (See <a title=\"Gender and Nation\" href=\"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/gender-and-nation\/\" target=\"_blank\" rel=\"noopener noreferrer\">Gender and Nation<\/a>)<\/p>\n<p>Rushdie also toys with the nature of mother-son relationships in Indian and Pakistani society, emphasizing the perversion of their closeness. In\u00a0<em>Shame<\/em>, for example, the three Shakil mothers dote over their only son Omar, keeping him\u201dexcluded from human society by [their] strange resolve\u201d(Rushdie 29). Furthermore, the stereotypical mother resents her son\u2019s new wife for monopolizing his affection and tries to disrupt any opportunities for intimacy in the new marriage (Adler 135). Both Bariamma\u2019s nocturnal segregation of the married couples in\u00a0<em>Shame<\/em>\u00a0(Rushdie 71) and Flory Zogoiby\u2019s demand for Abraham\u2019s firstborn son in\u00a0<em>The Moor<\/em>\u00a0(Rushdie 111) exemplify this unusual attachment.<\/p>\n<h4>As Wives<\/h4>\n<p>According to J.P. Singh in her book\u00a0<em>The Indian Woman: Myth and Reality<\/em>,one of the most notable developments of recent times has been \u201cfinding refuge in the age-old Indian wisdom: for the most part ignore your husband. Live your life as if he were not there\u201d (305).\u00a0<a title=\"Arranged Marriages, Matchmakers, and Dowries in India\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/arranged-marriages-matchmakers-and-dowries-in-india\/\" target=\"_blank\" rel=\"noopener noreferrer\">Arranged marriages<\/a>\u00a0necessitated such sentiment, especially in order to withstand a husband\u2019s physical abuse, cruelty, or apathy. Carmen da Gama, in\u00a0<em>The Moor<\/em>, privately deals with her husband\u2019s secret homosexual liaisons, as does Rani Harappain the face of Iskander\u2019s long absences and sexual disinterest.<\/p>\n<p>Indian and Pakistani wives also become part of their husband\u2019s family when they marry; in this arrangement, wives must obey the older women in the family and comply with all their demands (Adler 135). Living under the matriarchal rule of Bariamma Ryder, Rushdie writes that Bilqu\u00ecs Ryder\u201dwas given more than her fair share of household duties and also slightly more than her fair share of the rough edge of Bariamma\u2019s tongue\u201d(Moor 73).<\/p>\n<h4>As Public Figures<\/h4>\n<p>As noted in the book\u00a0<em>Women and Politics in Islam<\/em>, which covers the trial of Benazir Bhutto, the Quranic stand on women leaders is in staunch opposition: \u201c\u2018A nation that appoints a woman as its ruler shall never prosper\u2019\u201d says the Bukhari commentary on the Quran (Zakaria 97). Yet a number of women have attained high political positions in both Pakistan and India. Benazir Bhutto, former Prime Minister of Pakistan, is the model for the character Arjum and &#8220;the Virgin Ironpants\u201d Harappa in\u00a0<em>Shame<\/em>. Although Rushdie portrays her as a woman resentful of her female body \u2014 \u201cit brings a person nothing but babies, pinches, and shame\u201d (107), Bhutto herself told Donna Foote of\u00a0<em>Newsweek<\/em>\u00a0it is \u201c\u2018the people who resent me [that] do so because I am a woman\u2019\u201d(Zakaria 7).<\/p>\n<p>By following her father Zulfikar Ali Bhutto into\u00a0<a title=\"Gender and Nation\" href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/20\/gender-and-nation\/\" target=\"_blank\" rel=\"noopener noreferrer\">political leadership<\/a>, Benazir and her literary counterpart \u201cthe Virgin Ironpants\u201d highlight an interesting trend in South Asia politics: the family connection. According to Rozina Visram in her book\u00a0<em>Women in India and Pakistan<\/em>, the reason women have been able to overcome social obstacles and reach high political offices may be family relationships (54). Both the prime minister of Sri Lanka and Bangladesh (Sirimavo Bandaranayake and Khaleda Zia, respectively) came to power after the murders of their husbands, for instance (Visram 55). In\u00a0<em>The Moor<\/em>, Rushdie mentions another woman who followed in the footsteps of her father: Indira Gandhi, who was prime minister of India from 1966-77 and 1980-84 before she was assassinated.<\/p>\n<figure id=\"attachment_2425\" aria-describedby=\"caption-attachment-2425\" style=\"width: 192px\" class=\"wp-caption alignright\"><a href=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/download-1.jpeg\" rel=\"attachment wp-att-2425\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2425 size-full\" src=\"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/files\/2014\/06\/download-1.jpeg\" alt=\"download\" width=\"192\" height=\"262\" \/><\/a><figcaption id=\"caption-attachment-2425\" class=\"wp-caption-text\">Amrita Sher-Gil, \u201cThree Girls,\u201d 1935\/ public domain<\/figcaption><\/figure>\n<p>The central female character in\u00a0<em>The Moor\u2019s Last Sigh<\/em>\u00a0is Aurora Zogoiby, a talented painter who depicts complexity and history of India in her art. She has been linked to the artist Amrita Sher-Gil, who created \u201ca vital, living India \u2018of dark-bodied, sad-faced, inevitably thin men and women\u2019, silent, silhouette-like, with an indefinable pathos\u201d (Rao36). Like Aurora, Sher-Gil was often misunderstood and unappreciated in her time, although her work was of huge significance to modern Indian painting.<\/p>\n<h4>Works Cited<\/h4>\n<ul>\n<li>Adler, Leonore Loeb, ed.\u00a0I<em>nternational Handbook on Gender Roles<\/em>.Westport, Connecticut: Greenwood, 1993.<\/li>\n<li>Feldhaus, Anne.\u00a0<em>Images of Women in Maharashtrian Literature and Religion<\/em>. Albany: State University of New York Press, 1996.<\/li>\n<li>Rao, Ramachandra.\u00a0<em>Modern Indian Painting<\/em>. Madras: Associated Printers, Ltd., 1953.<\/li>\n<li>Rushdie, Salman.<em>\u00a0The Moor\u2019s Last Sigh<\/em>. New York: Pantheon, 1995.<\/li>\n<li>\u2014.\u00a0<em>Shame<\/em>. New York: Holt, 1983.<\/li>\n<li>Singh, J.P.\u00a0<em>The Indian Woman: Myth and Reality<\/em>. New Delhi: Gyan, 1996.<\/li>\n<li>Zakaria, Rafiq.\u00a0<em>Women and Politics in Islam<\/em>: The Trial of Benazir Bhutto. New York: New Horizons Press, 1990.<\/li>\n<\/ul>\n<p>Section Author: Laura Moyer, Fall 1997<\/p>\n<p>Last Updated:\u00a0May 2017<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Biography Salman Rushdie was born in Bombay in 1947, just months before the Partition of British India. His father, Ahmed, was a businessman and his mother, Negin, was a teacher. He grew up loving the escape literature and film offered, and he wrote his first story when he was ten years old. He encountered some<\/p>\n","protected":false},"author":326,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[57,127,77,128,12,89,58,45,41,28,146,29,72,100,86,88,36,60,124,108,55],"class_list":{"0":"post-418","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-authors-and-artists","7":"tag-class","8":"tag-colonization","9":"tag-communism","10":"tag-culture","11":"tag-diaspora","12":"tag-england","13":"tag-ethnicity","14":"tag-hybridity","15":"tag-identity","16":"tag-india","17":"tag-kashmir","18":"tag-language","19":"tag-nationalism","20":"tag-new-york","21":"tag-pakistan","22":"tag-politics","23":"tag-religion","24":"tag-resistance","25":"tag-rushdie","26":"tag-south-asia","27":"tag-violence"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/paWL6U-6K","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/posts\/418","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/users\/326"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/comments?post=418"}],"version-history":[{"count":13,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/posts\/418\/revisions"}],"predecessor-version":[{"id":2827,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/posts\/418\/revisions\/2827"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/media?parent=418"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/categories?post=418"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/wp-json\/wp\/v2\/tags?post=418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}