If you knew one thing about Salman Rushdie, it’s probably that he spent much of his life under an Islamist death sentence known as a fatwa, issued by Ayatollah Khomeini in 1989 in response to Rushdie’s novel The Satanic Verses. The Ayatollah claimed that the book was blasphemous, and he refused to retract the order – which said that any Muslim would be a martyr for killing Rushdie and also issued the threat of death against his editors and publishers – even after Rushdie issued a half-hearted apology. The Iranian government has only backed away from the fatwa in the intervening three decades, never lifting it, and the massive bounty on Rushdie’s head is still in place.
The Ayatollahs would have done far more for their own cause by ignoring the book, because I find it hard to believe enough people would read this dense, highly metaphorical, bloated novel, and understand its implications for devout Muslims, to make one iota of difference in the Islamic world. They Streisanded the whole thing by drawing attention to it, and made the book a global best-seller when it would probably have faded into oblivion had they done nothing. I’m not even sure the book is that good, but I feel confident few readers would have waded far enough into it to care about the parts that so offended the Ayatollah.
The Satanic Verses starts with two men who fall from an airplane that has been blown up over the English channel by a suicide bomber but are saved by an unknown miracle, after which they are transformed into the archangel Gibreel (Gabriel) and into a devil, or perhaps the devil. (The book was published less than three months before Libyan terrorists bombed Pan Am flight 103 over Lockerbie, Scotland.) The two narratives split and then twist around each other, with Gibreel’s story drifting into dream sequences of magical realism or simply the delusions of a man with schizophrenia, while Chamcha, the man who sprouts horns and a tail like a devil, encounters a more mundane series of nightmares that begin with abuse by immigration authorities.
Gibreel’s dreams include visions of a businessman named Mahound – itself a derogatory name for Mohammed – who becomes a prophet, is fooled by a scribe who deliberately errs in writing down Mahound’s words, and whose wives are mocked by the twelve prostitutes at a brothel in Jahilia, which is a pre-Islamic name for Mecca. They also include the incident to which the book’s title refers, in which Mohammed exhorted Arab followers to keep three of their pagan goddesses, only to later recant the statement and claim he was fooled by Satan into making it. The depiction of the prophet Mohammed as a rube, a con man, or a sexual libertine was sure to anger devout Muslims, although some of this is buried beneath Rushdie’s dense, florid prose, and nearly all of it is written in the unreality of Gibreel’s visions.
Chamcha’s journey is much easier to follow, even with his on-and-off transformation into a hirsute demon, and explores more humanist themes of alienation from country and family. His domineering father tried to control Chamcha through money and familial obligations, an oppressive maneuver that helped encourage the son to flee India for England, where he encountered a new type of social and cultural isolation. The metaphor involved, of the father standing in for one’s country of birth, and the natural desire to reconnect before it’s too late to matter, is easier to grasp, and the narrative of Chamcha’s life is mostly linear and grounded in reality. Except for the horns.
Parsing what’s real in Gibreel’s narrative and what’s imagined or hallucinated is difficult enough, but it’s exacerbated by Rushdie’s prose style, between his prodigious vocabulary and often poetic musings, and his lax attitude towards time. The novel’s great climactic scene includes a march of penitents to Mecca and to the sea, led by a young girl Ayesha who claims she’s communicating with the Archangel, where the faithful follow her into the Red Sea. Whether they survived and transcended or merely drowned is left to the reader – and to the surviving, less faithful neighbors and family members who watched them disappear.
One recurring motif I did catch in The Satanic Verses is that of characters falling; in Rushdie’s world, a whole hell of a lot of people either jump or fall, mostly to their deaths, except for the two main characters who inexplicably survive. Gibreel, in fits of either madness or jealousy, kills several people by throwing them from buildings. At least two minor characters die by jumping from heights. Allie’s treks on Everest are marked by reminders of the possibility of falling, and eventually hypoxia causes her to hallucinate as well, although her eventual death comes off the mountain. The falls are always in the physical world, but given the context of the novel and Rushdie’s staunch atheism, it seems likely the falls represent man’s ‘descent’ from naïve superstition into the harsher world of a materialist, unthinking cosmos.
I had mixed feelings on Rushdie’s Booker Prize-winning novel Midnight’s Children, but it was a far more successful and accessible novel than The Satanic Verses. This latter book felt a bit like Joyce’s Ulysses, which Joyce made clear was a book to be dissected and analyzed, not to be read. You could write papers just on side characters or word choices or recurring images across the book, to say nothing of the overarching themes of identity, alienation, or religion. But as a straight read, The Satanic Verses is maddening, and not in the way the Ayatollah meant.
Next up: I finished Kobo Abe’s The Woman in the Dunes this morning.
I hope you enjoyed The Woman in the Dunes. I read (and enjoyed) the novel because I loved the movie. They’re very different: the novel focuses on the man’s inner life while the film seems more allegorical and is about his situation. Check it out when you get a chance.