Review by Booklist Review
A riotous fantasy of survival and reincarnation, as two Indian actors emerge alive from an airplane crash in highly altered states. A novel unique for the quality and breadth of the writer's scorn and contempt, which leave no subject safe from devilishly caustic rebuke.
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Banned in India before publication, this immense novel by Booker Prize-winner Rushdie ( Midnight's Children ) pits Good against Evil in a whimsical and fantastic tale. Two actors from India, ``prancing'' Gibreel Farishta and ``buttony, pursed'' Saladin Chamcha, are flying across the English Channel when the first of many implausible events occurs: the jet explodes. As the two men plummet to the earth, ``like titbits of tobacco from a broken old cigar,'' they argue, sing and are transformed. When they are found on an English beach, the only survivors of the blast, Gibreel has sprouted a halo while Saladin has developed hooves, hairy legs and the beginnings of what seem like horns. What follows is a series of allegorical tales that challenges assumptions about both human and divine nature. Rushdie's fanciful language is as concentrated and overwhelming as a paisley pattern. Angels are demonic and demons are angelic as we are propelled through one illuminating episode after another. The narrative is somewhat burdened by self-consciousness that borders on preciosity, but for Rushdie fans this is a splendid feast. 50,000 first printing; $50,000 ad/promo; first serial to Harper's; BOMC alternate; QPBC alternate; author tour. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
When a terrorist's bomb destroys a jumbo jet high above the English Channel, two passengers fall safely to earth: Gibreel, an Indian movie actor, and Saladin, star of the controversial British television program, The Alien Show . The near-death experience changes them into living symbols of good and evilSaladin grows horns, Gibreel a halo. From this fantastic premise Rushdie spins a huge collection of loosely related subplots that combine mythology, folklore, and TV trivia in a tour de force of magic realism that investigates the postmodern immigrant experience. (Why does an Indian expatriate feel homesick watching reruns of Dallas ?) Like Rushdie's award-winning novel Midnight's Children ( LJ 2/15/81), this invites comparison with the miracle-laden narratives of Gabriel Garcia Marquez. Highly recommended. Edward B. St. John, Loyola Law Sch. Lib., Los Angeles (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
This controversial novel, banned in India for its alleged blasphemy against the Prophet Mohammed, is a surreal hallucinatory feast. Rushdie (Midnight's Children; Shame, etc.), long a magical realist, turns finally to Islam for his jumping, off point, and his inventiveness never flags. Satan, according to an epigraph by Defoe, has no fixed place to settle, and the difficulty of telling good from evil, the way that one reincarnates into the other, is the theme of this epic tale--which contains stories within stories, dreams within dreams. It begins with the explosion of a hijacked jumbo jet; Gibreel Farishta, a Bombay movie star, and Saladin Chamcha, an exile who lives in Britain, survive their free fall from the plane. Gibreel then presides over the dream/stow worlds of his ""arehangelic other self"" after he and Saladin are transformed into angelic or satanic opponents. (They are never certain which is which.) The central story concerns Mahound, the Prophet of Jahilia who founds the religion of ""those who submit,"" which parallels Islam; another is about Ayesha, a contemporary visionary who leads a group of villagers to the sea, where she promises that the waves will part before them (they all drown, of course); yet another dream-story involves the Imam, a sort of grim Ayatollah. Such a summary does the book a disservice, however, because all of these stories and many others besides are woven together with cross-references, psychic communications, brisk farces and satires, and interconnected picaresque. Rushdie does for Islam what Mark Helprin did (a little less successfully) for New York in his Winter's Tale: peoples it with fantastic figures that always seem close to some ineffable imaginative truth--even as Rushdie fast-cuts to the next scene in his phantasmagoric dream-time world. Whether it all finally holds together or not is almost beside the point: this is an entertainment in the highest sense of that much-exploited word. Copyright ©Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
