Abstract
In a 2005 interview with the Paris Review, Salman Rushdie said: ‘My life has given me this other subject: worlds in collision. How do you make people see that everyone’s story is now a part of everyone else’s story? It’s one thing to say it, but how can you make a reader feel that is their lived experience?’1 His statement makes a case for the ability of literature to encourage readers to empathically imagine themselves into the ‘lived experience’ of the other, producing new global ties not unlike those that Judith Butler has called for in her recent work (see Chapter 1). However, like Dave Eggers’ What Is the What — as well as the majority of other authors I have discussed in this study — Rushdie’s post-9/11 fiction does not stop at a redressing of imbalances in empathy (or of the power structures that underlie it), but additionally works towards a deconstruction of the categories of identity and difference that allow such an imbalance to occur in the first place. Bringing to a conclusion the expansion of this argument’s scope that began in Chapter 3, which focused on novels that challenge perceptions of difference between two national identity categories (the United States and Iraq), the trans-nationalism of Rushdie’s recent fiction is such that this final chapter is less delimited by country or identity type. While the previous two chapters explored a complex negotiation of difference in fiction, this chapter is more interested in the broader question of what it means to be different in a widely globalised post-9/11 world.
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Notes
Martin Heidegger, ‘The Age of the World Picture’, in Off the Beaten Track, ed. and trans. Julian Young and Kenneth Haynes (Cambridge University Press, 2002), p. 67.
Rachel Trousdale, Nabokov, Rushdie, and the Transnational Imagination: Novels of Exile and Alternate Worlds (New York: Palgrave Macmillan, 2010), p. 120.
See also: Homi K. Bhabha, The Location of Culture (London: Routledge, 1994);
Roger Y. Clark, Stranger Gods: Salman Rushdie’s Other Worlds (London: McGill-Queen’s University Press, 2001).
Judith Butler, Frames of War: When is Life Grievable? (London: Verso, 2009), p. 103.
Roger Luckhurst, ‘In War Times: Fictionalizing Iraq’, Contemporary Literature, 53.4 (2012), p. 723.
Jaina C. Sanga, Salman Rushdie’s Postcolonial Metaphors: Migration, Translation, Hybridity, Blasphemy, and Globalization (London: Greenwood Press, 2001), p. 9.
See also: Mita Banerjee, The Chutneyfication of History: Salman Rushdie, Michael Ondaatje, Bharati Mukerjee and the Postcolonial Debate (Heidelberg: C. Winter, 2002);
Sara Suleri, ‘Contraband Histories: Salman Rushdie and the Embodiment of Blasphemy’, in Reading Rushdie: Perspectives on the Fiction of Salman Rushdie, ed. D.M. Fletcher (Amsterdam and Atlanta: Rodopi, 1994), pp. 221–36.
Linda Hutcheon, The Politics of Postmodernism (London and New York: Routledge, 1989).
Notable studies in post-postmodern fiction include: Adam Kelly, ‘David Foster Wallace and the New Sincerity in American Fiction’, in Consider David Foster Wallace, ed. David Hering (Los Angeles and Austin: Sideshow Media Group Press, 2010);
Nicoline Timmer, Do You Feel It Too?: The Post-Postmodern Syndrome in American Fiction at the Turn of the Millennium (Amsterdam and New York: Rodopi, 2010).
Salman Rushdie, ‘Step Across This Line’, in Salman Rushdie, Step Across This Line: Collected Nonfiction 1992–2002 (London: Vintage, 2003), p. 409.
Salman Rushdie, Shalimar the Clown (London: Jonathan Cape, 2005), p. 37.
Slavoj Žižek, ‘Welcome to the Desert of the Real’, in The Universal Exception, ed. Rex Butler and Scott Stephens (London: Continuum, 2006), p. 282.
See also Francis Fukuyama, The End of History and the Last Man (New York: The Free Press, 1992).
Salman Rushdie, Joseph Anton (London: Jonathan Cape, 2012), p. 626.
Robert Eaglestone, ‘Salman Rushdie’, in Salman Rushdie: Contemporary Critical Perspectives, ed. Robert Eaglestone and Martin McQuillan (London and New York: Bloomsbury, 2013), p. 8.
Arthur Bradley and Andrew Tate, The New Atheist Novel: Fiction, Philosophy and Polemic After 9/11 (London: Continuum, 2010), p. 12.
Jean-François Lyotard, The Differend: Phrases in Dispute (Minneapolis: University of Minnesota Press, 2007), p. 40.
Keith Jenkins, Refiguring History (London: Routledge, 2003), pp. 10–11.
Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore: Johns Hopkins University Press, 1975), p. 97.
Theodor W. Adorno, Negative Dialectics, trans. E.B. Ashton (London: Routledge, 1990), p. 163.
Roland Barthes, Image, Music, Text (London: Fontana, 1987), p. 147.
Jennifer Hodgson, ‘“Such a Thing as Avant-Garde Has Ceased to Exist”: The Hidden Legacies of the British Experimental Novel’, in Twenty-First Century Fiction: What Happens Now, ed. Siân Adiseshiah and Rupert Hildyard (Basingstoke: Palgrave Macmillan, 2013), p. 19.
Richard J. Evans, In Defence of History (London: Granta, 2005), p. 231.
Salman Rushdie, Fury (London: Vintage, 2002), pp. 30–1.
Stephen Morton, Salman Rushdie: Fictions of Postcolonial Modernity (Basingstoke: Palgrave Macmillan, 2007).
Stephen Morton, ‘“There were collisions and explosions. The world was no longer calm”: Terror and Precarious Life in Salman Rushdie’s Shalimar the Clown’, Textual Practice, 22.2 (2008), p. 341.
Salman Rushdie, The Enchantress of Florence (London: Vintage, 2009), p. 29.
See: Bhabha, Location of Culture; David Birch, ‘Postmodern Chutneys’, Textual Practice, 5.1 (1991), pp. 1–7; Sabrina Haussumani, Salman Rushdie: A Postmodern Reading of His Works (Madison: Farleigh Dickinson University Press, 2002).
Nick Cohen, What’s Left? How Liberals Lost Their Way (London: Harper Perennial, 2007), p. 272.
Pascal Bruckner, The Tyranny of Guilt: An Essay on Western Masochism (Princeton University Press, 2010), p. 34.
Vassilena Parashkevova, Salman Rushdie’s Cities: Reconfigurational Politics and the Contemporary Urban Imagination (London and New York: Continuum, 2012), p. 179.
Rushdie has made a virtue of attempting to subvert consensus logic throughout his career. See the section ‘Turning Logic Upside Down’ in Daniel O’Gorman, ‘Rushdie’s Non-Fiction’, in Salman Rushdie: Contemporary Critical Perspectives, ed. Robert Eaglestone and Martin McQuillan (London and New York: Bloomsbury, 2013), pp. 108–14.
Edward W. Said, Orientalism (London: Penguin, 2003), p. 40.
Hannah Arendt, The Origins of Totalitarianism (New York: Schocken, 2004), p. 591.
Gabriele Marranci, Understanding Muslim Identity: Rethinking Fundamentalism (Basingstoke: Palgrave Macmillan, 2009), p. 26.
Elizabeth Shakman Hurd, The Politics of Secularism in International Relations (Princeton University Press, 2008), p. 23.
Edward Said, ‘Secular Criticism’, in The World, the Text, and the Critic (Cambridge, MA: Harvard University Press, 1983), p. 26.
Joel Kuortti, Place of the Sacred: The Rhetoric of the Satanic Verses Affair (Frankfurt: Peter Lang, 1997), p. 161.
Martin McQuillan, ‘“Illuminated by a ray of the sun at midnight”: The Enchantress of Florence’, in Salman Rushdie: Contemporary Critical Perspectives, ed. Robert Eaglestone and Martin McQuillan (London and New York: Bloomsbury, 2013), p. 90.
Neelam Srivastava, Secularism in the Postcolonial Indian Novel: National and Cosmopolitan Narratives in English (London: Routledge, 2008), qtd in Parashkevova, Salman Rushdie’s Cities, p. 191.
Anshuman A. Mondal, ‘Revisiting The Satanic Verses: The Fatwa and its Legacies’, in Salman Rushdie: Contemporary Critical Perspectives, ed. Robert Eaglestone and Martin McQuillan (London and New York: Bloomsbury, 2013), p. 71.
Richard Gray, After the Fall: American Literature since 9/11 (Oxford: Wiley-Blackwell, 2011), p. 30.
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© 2015 Daniel O’Gorman
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O’Gorman, D. (2015). ‘The stories of anywhere are also the stories of everywhere else’: Salman Rushdie’s Shalimar the Clown and The Enchantress of Florence. In: Fictions of the War on Terror. Palgrave Macmillan, London. https://doi.org/10.1057/9781137506184_6
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