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The Satanic Verses by Salman Rushdie

The Satanic Verses (1988)

by Salman Rushdie

Other authors: See the other authors section.

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8,01886400 (3.77)439
Recently added byfoolishhart, tidic, okhotsk56, stevenamitchell, CaroPi, DandelionDreams, private library, alcoldwell
Legacy LibrariesSusan Sontag
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  2. 50
    Midnight's Children by Salman Rushdie (BGP)
  3. 00
    Mr Pye by Mervyn Peake (CGlanovsky)
    CGlanovsky: Deals with religion and includes physical transformation of characters.
  4. 00
    My Name is Red by Orhan Pamuk (BGP)

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» See also 439 mentions

English (80)  Dutch (3)  Hungarian (1)  Danish (1)  Spanish (1)  All languages (86)
Showing 1-5 of 80 (next | show all)
I started reading this book ten years ago, and have been trying to get back to it ever since. I'm proud to say I have now read through to the end. I enjoyed the imagery, the layers of cultures and symbolism, even the plot, but the ending fell a bit flat for me. Towards the end, the characters go even crazier than usual, and the prose deteriorates to illustrate their mental decay, which reads less well than I'd like. I enjoyed reading The Satanic Verses, and might have given it 5 stars if I didn't also feel like it was a bit too much hard work, if I weren't so glad to finally be done with it. ( )
  Amelia_Smith | May 2, 2015 |
I loved listening to this as Rushdie's word have some poetry to them. However, there were some parts that confused me as I did not understand all the religious nuances. ( )
  bookwyrmm | Feb 2, 2015 |
The books takes a lot longer to read then you think it would. It was tough to get through the beginning because it is very confusing. The timelines jump back and forth and there are a lot of dream sequences throughout the book. In the end it was completely worth it though. The characters were great (and vast), and it is a very original novel. I really like the ending as this isn't really a book you read for the plot, but it still comes together at the end. ( )
  renbedell | Jan 19, 2015 |
This book did not make any sense. I think 500-page dream sequences aren't really my thing. Also, the rather loose use of English sentences was cool for the first few pages, and then it just made the book harder to read. ( )
  lavaturtle | Dec 31, 2014 |
I'm giving this four stars because I acknowledge the importance of what this book has to say. The importance does not outweigh the fact that Rushdie does the "oh look how badly they treat women they must be bad!" dance while amassing almost a dozen girlfriends in the refrigerator and a couple personas whose bad ass character definition is completely subsumed by their (male) lover's plot lines, but stands alongside it, equally worthy of mention. It's a balancing of my importance as a self with my importance as an idea, something that men the world over could learn something from. Intersectionality does not dampen your critical thinking skills; solipsism does. And when it comes to gynephobia or any other ideological oppression, solipsism kills.

Mahound, any new idea is asked two questions. When it's weak: will it compromise? We know the answer to that one. And now, Mahound, on your return to Jahilia, time for the second question: How do you behave when you win? When your enemies are at your mercy and your power has become absolute: what then?

The main reason why I think this book deserves to be read is because while Rushdie does fall into authorial/political traps in regards to women, he does so while deconstructing the very power structures that propagate those traps. It's not a matter of "I did my best and no one should criticize me" feel-good stagnancy, nor a philosophical degeneration into nonentity that likes to pretend privilege is not a thing, but a real look at the compromises we live by in the societal boundaries of good and evil. This angry and messy view of things is particular important when considering the book, its history, and the particular reader I am, an atheist woman who grew to adulthood in the wake of 9/11. I have my own issues due to my identity, but I'll never be thought a terrorist.

Emboldened by the lights and the patient, silent lens, he goes further. These kids don't know how lucky they are, he suggests. They should consult their kith and kin. Africa, Asia, the Caribbean: now those are places with real problems. Those are places where people might have grievances worth respecting. Things aren't so bad here, not by a long chalk; no slaughters here, no torture, no military coups. People should value what they've got before they lose it. Ours always was a peaceful land, he says. Our industrious island race.

I know people died for the sake of this book, I know people died for the sake of my country's obsessions with security and military industrial complex as a direct result of Islamophobia, and I know how easy it would be to use one to excuse the other. It's the same parsed feeling when Rushdie writes about current events in Ferguson twenty-six years before in fiction form, and then goes on to comment how the martyr of his particular story had a history of abusing women that does not receive coverage for the sake of solidarity. What's important here is how little confidence there is in regards to the "right" answer to all this, how Rushdie handles the choice between in such a way that the good and the bad of each are readily apparent and always in metamorphosis. Much like Murakami, I found myself questioning my own beliefs not because of how characters I had identified with had suffered, but due to the genuine interest the author had in questioning the lines of good and evil and what that all meant for our effort to live. Both of them have issues with writing female characters, but the "worth reading" quality is high enough to merit a pass.

Allie had a way of switching from the concrete to the abstract, a trope so casually achieved as to leave the listener half-wondering if she knew the difference between the two; or, very often, unsure as to whether, finally, such a difference could be said to exist.

If I can do it, so can you. Personal offence does not impress me when lives are on the line, and that goes for any and all lives. ( )
3 vote Korrick | Oct 23, 2014 |
Showing 1-5 of 80 (next | show all)
Talent? Not in question. Big talent. Ambition? Boundless ambition. Salman Rushdie is a storyteller of prodigious powers, able to conjure up whole geographies, causalities, climates, creatures, customs, out of thin air. Yet, in the end, what have we? As a display of narrative energy and wealth of invention, ''The Satanic Verses'' is impressive. As a sustained exploration of the human condition, it flies apart into delirium.

» Add other authors (22 possible)

Author nameRoleType of authorWork?Status
Salman Rushdieprimary authorall editionsconfirmed
Capriolo, EttoreTranslatorsecondary authorsome editionsconfirmed
Emeis, MarijkeTranslatorsecondary authorsome editionsconfirmed
Häilä, ArtoTranslatorsecondary authorsome editionsconfirmed
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"Satan, being thus confined to a vagabond, wandering, unsettled condition, is without any certain abode; for though he has, in consequence of his angelic nature, a kind of empire in the liquid waste or air, yet this is certainly part of his punishment, that he is... without any fixed place, or space, allowed him to rest the sole of his foot upon." ~ daniel defoe, the history of the devil
Dedicated to the individuals and organizations who have supported this publication.
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"To be born again " sang Gibreel Farishta tumbling from the heavens, "first you have to die."
If you live in the twentieth century you do not find it hard to see yourself in those, more desperate than yourself, who seek to shape it to their will.
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(Click to show. Warning: May contain spoilers.)
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A tale of two men/human angel and demon/amazing writing!  (ReadWriteLib)

Amazon.com Amazon.com Review (ISBN 0312270828, Paperback)

No book in modern times has matched the uproar sparked by Salman Rushdie's The Satanic Verses, which earned its author a death sentence. Furor aside, it is a marvelously erudite study of good and evil, a feast of language served up by a writer at the height of his powers, and a rollicking comic fable. The book begins with two Indians, Gibreel Farishta ("for fifteen years the biggest star in the history of the Indian movies") and Saladin Chamcha, a Bombay expatriate returning from his first visit to his homeland in 15 years, plummeting from the sky after the explosion of their jetliner, and proceeds through a series of metamorphoses, dreams and revelations. Rushdie's powers of invention are astonishing in this Whitbread Prize winner.

(retrieved from Amazon Mon, 30 Sep 2013 13:48:41 -0400)

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"Dean Fletcher had spent virtually all his twenty-four years doing things practically guaranteed to land him in trouble. But not until he fell for a blonde nymphet named Kayleigh Scott did he manage to totally ruin his life. Kayleigh had told him she was eighteen. In truth she was not quite thirteen, and poor Dean was soon off to prison, a convicted sex offender, still smitten with his adolescent lover." "Now he's finally free again, only to be ensnared by two crimes that have Lloyd pulling out what's left of his hair. One is an infant kidnapping (the child was born within hours of Lloyd's and Judy's own baby, Charlotte); the other is the murder of Kayleigh's mother, Lesley, on the very eve of the family's sudden move to Australia.". "Fortunately, Lloyd thinks he hears the ring of truth in Dean's declarations of innocence. He is extremely curious about Lesley's new lover, Ian, who has jumped headfirst into another relationship, and her old lover, Phil, whose world she had destroyed. And for all her air of placid innocence, Kayleigh herself isn't above suspicion." "With Judy out on maternity leave, Lloyd is obliged to pick his way alone through the minefield of birth, death, murder, and domestic evil."--BOOK JACKET.… (more)

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