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Salman Rushdie SALMAN RUSHDIE: A CRITICAL STUDY OF HIS NOVELS THESIS submitted to GOA UNIVERSITY , for the award of the Degree of DOCTOR OF PHILOSOPHY IN ENGLISH 223.91Lt by PREMA ANGELA ROCHA Guide DR. K. S. BHAT (Head, Dept. of English, Goa University) Co-Guide DR. NINA CALDEIRA (Reader, Dept. of English, Goa University) GOA UNIVERSITY TALEIGAO PLATEAU JULY 2008 Ct-i ri-ib IAA 0.1 eLAAlie- kPa et.-if tt/1 kel,VP Lev-, i vt,e,0-( p5-6-0.4-3 2/eg 2-0) t d LNAvz. r e at:N.,- krtm, DECLARATION I, Ms. Prema Angela Rocha, hereby declare that this thesis entitled Salman Rushdie: A Critical Study of His Novels is the outcome of my own research undertaken under the guidance of Dr. K.S. Bhat, Head, Department of English, Goa University. All the sources used in the course of this work have been duly acknowledged in the thesis. This work has not previously formed the basis for the award of any degree, diploma or certificate of this or any other University. Prema A. Rocha Date: 28. 07. 2008 CERTIFICATE I hereby certify that the thesis entitled Salman Rushdie: A Critical Study of His Novels, submitted by Ms. Prema Angela Rocha for the award of the degree of Doctor of Philosophy in English, has been completed under my guidance. The thesis is a record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any degree, diploma or certificate of this or any other University. Dr. K.S. Bhat Research Guide Head, Dept. of English Goa University Date: 28. 07. 2008 iii ACKNOWLEDGEMENTS The study of a living writer offers a unique challenge, more so when the writer in consideration happens to be one as polemical as Salman Rushdie. Motivated singularly by admiration on reading Rushdie many years ago, the idea of research germinated. A debt of gratitude is owed to many who helped me bring my research to fruition. To begin with, I render thanks to my Creator for blessing this endeavour. One of the intriguing aspects of Rushdie's texts is the multiple parentage of the protagonists. In a case where fact seems reminiscent of fiction, I have been fortunate to have had a triumvirate of supervisors: I am immensely grateful to my research guide Dr. K.S. Bhat who helped me sharpen the focus of my main argument. His critical orientation, meticulous criticism and good humour have been invaluable. For her keen insights and moral support, I am thankful to my co-guide Dr. Nina Caldeira. My initial forays into the Rushdie pantheon began under the guidance of Dr. Anita Vashishta. I gratefully recall her kindness and assistance with the initial refining of ideas. I wish to express my gratitude to my teachers at the Department of English of the Goa University for timely suggestions and encouragement: Dr. Kiran Budkuley, Dr. Edith Melo Furtado and Dr. Rafael Fernandes whose constant exhortations to "write" was, as I ultimately discovered, the only way to get it done. This work owes an incalculable debt of gratitude to the UGC for the sanction of the fellowship under the Faculty Improvement Programme. iv Principal Newman Fernandes of St. Xavier's College deserves special thanks for his impetus to higher academic goals and for permitting me to avail of the sabbatical. I also gratefully acknowledge the support of my colleagues at the Department of English of St. Xavier's College. For the valuable professional assistance at the various libraries visited I am grateful: the Mysore University library, the Jawaharlal Nehru University library - New Delhi, the Karnatak University library - Dharwad, the Mumbai University library, the Mumbai centres of the British Council and American Library and the Goa University library. The late Dr. C. D. Narasimhaiah's hospitality at the Library of Commonwealth Studies - Dhvanyaloka deserves a mention. To my precious friends - for collaboration on some of the adventures in quest of reading material and for cheering me on at all times — my heartfelt thanks. A special "thank you" to Rodney Benedito Ferrao for going out of his way to locate and send me some significant critical texts all the way from the U.S. and the UK inspite of his own academic commitments, and to Andy Silveira for procuring some valuable reading material from Chennai University. And finally I acknowledge my greatest debt. I owe far more than a vote of thanks to Jervis and to little Jade for supporting my immersion in matters Rushdian, for putting up with a home inundated with paper and enabling me to work unfettered as far as was possible. Without them, and the love and encouragement of my mother, my late father, my siblings and my parents-in-law, there would have been nothing to write an acknowledgement for. Prema Rocha CONTENTS I Of Imaginary Homelands: Introduction 1 II Problematising History, Politics and Identity: Re-reading Midnight's Children and Shame 52 III Diasporic Dislocation: Traversing Transnational Spaces in The Ground Beneath Her Feet and Fury 103 IV A Return to Roots: Revisiting the Imagined Homeland in The Moor's Last Sigh and Shalimar the Clown 143 V Writing in a Postmodern/ Postcolonial Space: Rushdie's Narrative Landscape 176 VI Beyond Conclusion 237 Selected Bibliography 254 Our identity is at once plural and partial. Sometimes we feel that we straddle two cultures; at other times, that we fall between two stools. But however ambiguous and shifting this ground may be, it is not an infertile territory for a writer to occupy. - Salman Rushdie (Imaginary Homelands 15) 1 I Of Imaginary Homelands: Introduction "'We are. We are here.' And we are not willing to be excluded from any part of our heritage." - Salman Rushdie (Imaginary Homelands 15) This study aims at coming to grips with Salman Rushdie's engagement with the history, politics and identity of the Indian subcontinent, from his distinct location of a postcolonial migrant writer drawing culturally from multiple spaces, even as he belongs to none completely. A close textual examination of Rushdie's major fictional work has been undertaken in order to expound how a selection of thematic and structural patterns can be traced in the corpus of his major fiction, namely Midnight's Children (1981), Shame (1983), The Moor's Last Sigh (1995), The Ground Beneath Her Feet (1999), Fury (2001) and Shalimar the Clown (2005). The study attempts to chronicle the development of the writer vis -à-vis a critical examination of these six novels. The Enchantress of Florence (2008), Rushdie's latest major work of fiction was published as this study was nearing completion. It thus enabled the inclusion of examples into the discussion herein. A study of Rushdie cannot ignore his linguistic ebullience. Therefore, it takes into account the manner in which he reinvigorates narrative and the English language. The central thesis can be summarised and situated thus: Rushdie's oeuvre engages with the history, politics and identity of the Indian subcontinent shaped by the perspective of a migrant postcolonial. The study also takes into consideration his remarkable contribution to narrative and language. The experience of being uprooted fascinates Rushdie, and his fiction is informed, enriched and contextualised by his experience of displacement as well as exile. Despite the density and complexity of his work, certain ideas and 2 preoccupations clearly resonate through his corpus of writing. The focus of the study is to scrutinise the recurrent concerns articulated in Rushdie's major novels which are largely shaped by a diasporic consciousness. The texts lend themselves to the postulation that Rushdie's novels are interconnected on a thematic and formal plane. Interestingly, his work seems to have kept pace with his geographical dislocation. The locales of his texts reflect his physical and geographical dislocation from India to England to America. However, he has repeatedly harked back to the imagined Indian homeland while negotiating a postmodern narrative mode and mindscape. Rushdie draws upon the Indian experience in his narratives. His work gives expression to the broad cultural, historical, religious and political experiences of the Indian subcontinent in the main. Rushdie's non-fictional essays indisputably and explicitly serve as an annotation to his concerns and can be considered his fictional manifesto. Most of the essays collected in Imaginary Homelands: Essays and Criticism 1981 - 1991 and Step Across This Line a collection of articles from 1992 to 2002, deliberate upon a range of issues including his particular location as an expatriate writer. The essays provide a valuable reading aide to his work. Hence, the opinions expressed in his non-fiction, interviews and other literary work merit due attention and have been taken into account where deemed relevant. The tenor of this study endeavours to remain analytical rather than accusative or defensive towards the writer. It has mainly analysed the predominant concerns revealed in his fiction, and the design and evolution of his writing. The postcolonial, postmodern context has provided a theoretical referent for the study. Rushdie's narrative strategies are also closely examined in the postmodern, postcolonial space in which he writes. Nevertheless, this study is not a reductive reading. It does not 3 attempt to circumscribe Rushdie in a particular mould, for, with a writer like Rushdie who has constantly defied precincts, not only would such a task be confining, it would be virtually impossible. The French critic Guy Astic lays stress on examining Rushdie's work as a whole. As he puts it, this Indo-British writer "is not an individual defined by a single work, nor is he just the face of a fatwa".
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