Reading Exercise 10

The Satanic Verses

The Satanic Verses is Salman Rushdie's fourth novel, first published in 1988 and inspired in part by the life of Muhammad. As with his previous books, Rushdie used magical realism and relied on contemporary events and people to create his characters. The title refers to the satanic verses, a group of Quranic verses that refer to three pagan Meccan goddesses: Allāt, Uzza, and Manāt. In the United Kingdom, The Satanic Verses received positive reviews, was a 1988 Booker Prize finalist (losing to Peter Carey's Oscar and Lucinda) and won the 1988 Whitbread Award for novel of the year. However, major controversy ensued as Muslims accused it of blasphemy and mocking their faith. The outrage among Muslims resulted in a fatwā calling for Rushdie's death issued by Ayatollah Ruhollah Khomeini, then Supreme Leader of Iran, on 14 February 1989. The result was several failed assassination attempts on Rushdie, who was placed under police protection by the UK government, and attacks on several connected individuals such as translator Hitoshi Igarashi (leading, in Igarashi's case, to death). The book was banned in India as hate speech directed towards a specific religious group. It was also banned in many Islamic countries.

The Satanic Verses consists of a frame narrative, using elements of magical realism, interlaced with a series of sub-plots that are narrated as dream visions experienced by one of the protagonists. The frame narrative, like many other stories by Rushdie, involves Indian expatriates in contemporary England. The two protagonists, Gibreel Farishta and Saladin Chamcha, are both actors of Indian Muslim background. Farishta is a Bollywood superstar who specialises in playing Hindu deities. Chamcha is an emigrant who has broken with his Indian identity and works as a voiceover artist in England.

At the beginning of the novel, both are trapped in a hijacked plane flying from India to Britain. The plane explodes over the English Channel, but the two are magically saved. In a miraculous transformation, Farishta takes on the personality of the archangel Gabriel and Chamcha that of a devil. Chamcha is arrested and passes through an ordeal of police abuse as a suspected illegal immigrant. Farishta's transformation can partly be read on a realistic level as the symptom of the protagonist's developing schizophrenia.

Both characters struggle to piece their lives back together. Farishta seeks and finds his lost love, the English mountaineer Allie Cone, but their relationship is overshadowed by his mental illness. Chamcha, having miraculously regained his human shape, wants to take revenge on Farishta for having forsaken him after their common fall from the hijacked plane. He does so by fostering Farishta's pathological jealousy and thus destroying his relationship with Allie. In another moment of crisis, Farishta realises what Chamcha has done, but forgives him and even saves his life. Both return to India. Farishta throws Allie off a high rise in another outbreak of jealousy and then commits suicide. Chamcha, who has found not only forgiveness from Farishta but also reconciliation with his estranged father and his own Indian identity, decides to remain in India.

Embedded in this story is a series of half-magic dream vision narratives, ascribed to the mind of Farishta. They are linked together by many thematic details as well as by the common motifs of divine revelation, religious faith and fanaticism, and doubt. One of these sequences contains most of the elements that have been criticised as offensive to Muslims. It is a transformed re-narration of the life of Muhammad (called "Mahound" or "the Messenger" in the novel) in Mecca ("Jahiliyyah"). At its centre is the episode of the so-called satanic verses, in which the prophet first proclaims a revelation in favour of the old polytheistic deities, but later renounces this as an error induced by the Devil. There are also two opponents of the "Messenger": a demonic heathen priestess, Hind bint Utbah, and an irreverent skeptic and satirical poet, Baal. When the prophet returns to the city in triumph, Baal goes into hiding in an underground brothel, where the prostitutes assume the identities of the prophet's wives. Also, one of the prophet's companions claims that he, doubting the authenticity of the "Messenger," has subtly altered portions of the Quran as they were dictated to him.

The second sequence tells the story of Ayesha, an Indian peasant girl who claims to be receiving revelations from the Archangel Gibreel. She entices all her village community to embark on a foot pilgrimage to Mecca, claiming that they will be able to walk across the Arabian Sea. The pilgrimage ends in a catastrophic climax as the believers all walk into the water and disappear, amid disturbingly conflicting testimonies from observers about whether they just drowned or were in fact miraculously able to cross the sea.

A third dream sequence presents the figure of a fanatic expatriate religious leader, the "Imam", in a late-20th-century setting. This figure is a transparent allusion to the life of Ruhollah Khomeini in his Parisian exile, but it is also linked through various recurrent narrative motifs to the figure of the "Messenger".

Overall, the book received favourable reviews from literary critics. In a 2003 volume of criticism of Rushdie's career, the influential critic Harold Bloom named The Satanic Verses "Rushdie's largest aesthetic achievement".Timothy Brennan called the work "the most ambitious novel yet published to deal with the immigrant experience in Britain" that captures the immigrants' dream-like disorientation and their process of "union-by-hybridization". The book is seen as "fundamentally a study in alienation." Muhammd Mashuq ibn Ally wrote that "The Satanic Verses is about identity, alienation, rootlessness, brutality, compromise, and conformity. These concepts confront all migrants, disillusioned with both cultures: the one they are in and the one they join. Yet knowing they cannot live a life of anonymity, they mediate between them both. The Satanic Verses is a reflection of the author’s dilemmas." The work is an "albeit surreal, record of its own author's continuing identity crisis." Rushdie himself spoke confirming this interpretation of his book, saying that it was not about Islam, "but about migration, metamorphosis, divided selves, love, death, London and Bombay." He has also said "It's a novel which happened to contain a castigation of Western materialism. The tone is comic."

After the Satanic Verses controversy developed, some scholars familiar with the book and the whole of Rushdie's work, like M. D. Fletcher, saw the reaction as ironic. Fletcher wrote "It is perhaps a relevant irony that some of the major expressions of hostility toward Rushdie came from those about whom and (in some sense) for whom he wrote. " He said the manifestations of the controversy in Britain "embodied an anger arising in part from the frustrations of the migrant experience and generally reflected failures of multicultural integration, both significant Rushdie themes. Clearly, Rushdie's interests centrally include explorations of how migration heightens one's awareness that perceptions of reality are relative and fragile, and of the nature of religious faith and revelation, not to mention the political manipulation of religion. Rushdie's own assumptions about the importance of literature parallel in the literal value accorded the written word in Islamic tradition to some degree. But Rushdie seems to have assumed that diverse communities and cultures share some degree of common moral ground on the basis of which dialogue can be pieced together, and it is perhaps for this reason that he underestimated the implacable nature of the hostility evoked by The Satanic Verses, even though a major theme of that novel is the dangerous nature of closed, absolutist belief systems."

The problem with some critics and some readers is that they are not that conscious that writers want to reflect their thoughts.  In addition, some critics criticize without close reading to texts. Some writers neglect the cultural and religious aspects in order to create controversy to improve society. 

References:

Harold Bloom (2003). Introduction to Bloom's Modern Critical Views: Salman Rushdie. Chelsea House Publishers.

M. D. Fletcher (1994). Reading Rushdie: Perspectives on the Fiction of Salman Rushdie. Rodopi B.V, Amsterdam.

 Weatherby, W. J. Salman Rushdie: Sentenced to Death. New York: Carroll & Graf Publishers Inc., 1990, p. 126.

Carter, Angela, in Appignanesi, Lisa and Maitland, Sara (eds). The Rushdie File. London: Fourth Estate, 1989, p. 11.

 "Reading 'Satanic Verses' legal". The Times of India. 25 January 2012.

"Ayatollah sentences author to death". BBC. 14 February 1989. Retrieved 29 April 2019.

 .

"Iran says Rushdie fatwa still stands". Iran Focus. 14 February 2006. Retrieved 22 April 2019.

"Salman Rushdie: Satanic Verses 'would not be published today'". BBC News. BBC. 17 September 2012. Retrieved 17 February  2019.

Questions for Discussion: 

"It is worthwhile reading controversial novels. " Comment.

" Writers should not discuss taboos in their work of art." Comment.