Ebook , by Salman Rushdie
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, by Salman Rushdie
Ebook , by Salman Rushdie
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Product details
File Size: 3060 KB
Print Length: 321 pages
Publisher: Random House; Reprint edition (February 16, 2011)
Publication Date: February 16, 2011
Language: English
ASIN: B004KABEOW
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Amazon Best Sellers Rank:
#363,335 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
This, Rushdie's third novel, explores the universal theme of shame in the context of an - somewhat imaginary but simultaneously all too real - Islamic society. The characters swim up to their necks in the stuff. From the three sisters, Chhunni, Munnee, and Bunny (who remain locked up in "Nishapur" with their deadly dumbwaiter), who think more of their inheritance than their father's death to the immaculately conceived, fat, passive, and eternally inverted Omar Khayyam (but rumors fly that the sisters - who share in all the burdens of Omar's birth - scandously seduced Angrez men) to the self-proclaimed "simple soliders" who ultimately turn into brutal dictators (and some shamelessly use Islam to gain public support) to the public that grieves "Did we really do that? But we are ordinary people..." shame fills up and drowns every letter of this novel. And not just "shame", but the nearly untranslatable ultra-nuanced Urdu word "sharam". Even the "family tree" at the beginning of the book, with its numerous nicknames and references to "illegitimate children", seeps with shame. Most of all, the central character (according to the opening of part II), Sufiya Zinobia, physically and metaphorically embodies all of the horrors that shame can produce. The most violent and stomach-churning scenes in the book involve the manifestation of this "Beast" inside of the tiny, innocent girl. By the end of the novel she takes on the role of the classical Greek furies. She leaves a venegeful sopping bloodbath on her way to President Raza Hyder's compound. But, as always with Rushdie, the expected doesn't occur.Much like Rushdie's second novel, "Midnight's Children", "Shame" contains an obstrusive narrator. This character (Rushdie himself?) pokes in and out of the story to make salient points or to "clear up" matters of language and history. This nameless narrator intrudes far less than Saleem Sinai. And one wonders if he also feels the sting of shame and so meekly hides behind the paragraphs. Regardless, this narrator admits early on that "The country in this story is not Pakistan, or not quite. There are two countries, real and fictional, occupying the same space, or almost the same space." He also states that he's writing a "modern fairy tale", which arguably suggests a moral. Even so, a cursory glance into the history of Pakistan will reveal that many of the events related in this book reflect the actual history of that young country. The real General Mohammed Zia ul-Haq gets fictionalized as Raza Hyder; Zulkifar Ali Bhutto becomes the comic-tragic Iskander Harappa; and Benezir Bhutto receives the name Arjumand Harappa. But this knowledge only expands the book's possible intentions. It does not preclude enjoyment of the actual text. Enough universal themes and cliffhanger stories scatter the words as to make their potential source in reality almost irrelevant. Though it does admittedly increase the controvery of the book. And, as we all know more than twenty years later, Rushdie has a flaming penchant for political and religious controversy."Shame" has a very similar literary voice to "Midnight's Children": funny, sad, comic, and tragic all at once. It contains stories about the rise and fall of dictators. It ruminates on the oppression of women (the ayahs, the lonely wives of military men, the female children, the burden of creating sons, the heavy weight of child bearing - see the story of "Good News", and the shame of having illegitimate children). It exposes some hard to digest truths about human behavior via the concept of shame ("Did we really do that?"). In some ways it suggests that we reap what we sow, and if we reap shame, well...The west figures much smaller here than in "Midnight's Children". Rushdie said in a 1983 interview that "...there is a tendency in Pakistan - and I do it myself - to blame the west for all the problems, and I thought it would be worth writing a book to say that there's no point in blaming other countries, because actually we're doing it to ourselves." Though "Shame" never comes off as didactic, politics evidently lies just beneath the surface. It quickly becomes difficult to conceive of "Shame" as mere fiction, mostly due to the anonymous narrator. So here, just as in "Midnight's Children", fiction and history dance, intertwine, and mingle. This fact makes Rushdie a thrillingly provocative read. And though his methods hadn't caused him any great personal trouble up to 1983, his next work of fiction would have him literally running for his life.
“Shame†by Salman Rushdie is a story that is fabricated based on an imaginary country – a dream that eventually crumbles. Rushdie uses the elaborate intricacies among characters and fuse these fantasies together with the Pakistani reality. It is essentially a historical escapade being narrated both allusively and fictitiously. The plot centers around the personal enmities and bad blood between the two family clans: Harappa and Hyder. This actually is an indirect insinuation to the partitioning of the Indian subcontinent and the situation in Pakistan that was characterized by turbulence and intranquility in its modern history. According to Rushdie, irrational religion and political violence are the driving forces in society where the culture of shame and shamelessness is originated. Through this novel, we see how the process of a modern country is being established and how it eventually self-destructs. “Shame†possesses a complicated and yet aureate style of writing, the blend of magical realism, mythology, religion, oral literature, and other elements. It is established in the Indian subcontinent where there is a unshakable, ingrained cultural background. Because of the fact that Rushdie is both deeply and equally implicated in Indian and English literature, it allows him to create this bold, imaginary world and still preserves his courage and responsibility to accept all the ramifications.The setting of “Shame†is quite exotic and distant. Undoubtedly, the depiction of utopianism is in existence and full of madness in the novel, and Rushdie has indirectly placed some irony and sarcasm towards civilization itself. He is accused of misrepresenting Pakistani history, and basically vilifying the Islamic faith. In the beginning, he narrates a very odd story in which the three sisters in the town of Q have established an agreement that they will sleep in one room and endure the same consequences and shame. Even when one of them is pregnant, the other two simultaneously show signs of pregnancy. Their son Omar Shakil is the outcome of their actions. Here, we see the structural background of allegory: the three people are sisters and yet are dissimilar creating a fat Omar Shakil – the structure of the Holy Trinity is very close who the Rushdie is – being nourished by India, Pakistan, and England.In the real world, the word shame leads the reader to connect to the word disgrace in which people feel embarrassed. Rushdie's “Shame†wants to unearth the origin of such concept. According to him, there are two kinds of violence that create shame and shamelessness: psychological impact of religion and the every day political violence. Rushdie endows “shame†as a resisting power, a hidden power, to disintegrate the fictional country that is supported by religion and political violence. It is cyclical that a country that is built based on shame will be crumbled too because of it. However, the reality is more cruel because even if a utopia is eradicated, there will be another one established because violence follows the principle of shame.
The imagination of the author is, as usual incredible. The story is a mixtureof sociology, religion, fairy tale, history and more. The reader can lose himselfvery easily in the thrilling story line.
Absolute perfection. What a complex and gorgeous tour de force. I cannot recommend this book enough! The characters are rich and plot lines sophisticated. I cannot even put into words how much this booked touched and impressed me. Modern classic and truly enjoyable. It strikes that rare balance of literary mastery while being entertaining and just enjoyable.
This is more of a long political essay. But, since it is Rushdie, and, since it is fiction (almost), it has his normal touch of the magical and the exaggerated.I haven't disliked this many characters in one book since Richardson's "Clarissa"! I am very glad I never had the opportunity to meet any of them.Overall, I wasn't as moved as I usually am by one of his books. The whole book was a downer, but well worth the read for the history lesson.
It is a book that makes you think.
I was required to get this book for my postcolonial literature class. Many of the characters serve as an allegory to Pakistani politicians. Rushdie's writing style is unlike any other's I have read. His sentences can run up to fourteen lines long. This book is also an example of metafiction; Rushdie will often interrupt the story to remind readers this book is fictional and the leaders fake. He calls attention to what is happening in the real world, saying changes don't come quite so easily as they do in a book, and he offers an intriguing glimpse into how and why he invented the characters. I like Rushdie, and intend to read more of his works.
Very original writing.past future jumps together. Emotionlly touching.very interesting.
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