'A lively, wonderfully inventive comic tale his own Sea of Stories from which he drew this entertaining and and the Sea of Stories. SALMAN RUSHDIE. Haroun and the Sea of Stories, (50). Qft September , Salman Rushdie, under a death sentence by Iran (origi- nally proclaimed by Ayatollah Ali Khomeini . 1 Salman Rushdie's. Haroun and the Sea of Stories opens like a fairy tale, its hyperbolic impli- cations inviting the reader to the suspension of disbelief.
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Salman Rushdie's Haroun and the Sea of Stories (), his first post-fatwa novel In this context it is useful to remember Rushdie's essay, “Influence”; the au-. It all begins with a letter. Fall in love with Penguin Drop Caps, a new series of twenty-six collectible and hardcover editions, each with a type cover. In Haroun and the Sea of Stories, Salman Rushdie uses an adventure narrative to ask complex and nuanced questions on the role of story and fiction in modern .
The colours encompass the whole visible spectrum and extend beyond into spectra that are not known to exist. Various islands and a continent are also shown on the moon. The name "Kahani" itself means "Story" in Urdu and Hindi, and is ultimately revealed to be the name of the sad city; a revelation that removes the sadness from the city's people. The Moon Kahani is, throughout most of the plot, divided into two sections equal in size, one of which is kept in perpetual daylight and the other in perpetual darkness.
The two are separated by a narrow strip of twilight, which is marked by a force field named Chattergy's Wall. The daylight side is called Gup, a Hindi and Urdu word meaning "gossip", "nonsense", or "fib" in English and the night-darkened side is called Chup meaning "quiet".
Inhabitants of Gup value speech and are called "Guppees", meaning "talkative people", while inhabitants of Chup are stated to have historically valued silence and are called "Chupwalas", meaning "quiet fellows". The "u" in "Gup" rhymes with the "u" in "cup", the "u" in "Chup" is pronounced similarly to the "oo" in "good", and the "w" in "Chupwala" resembles a sound lying midway between the English letters "w" and "v".
At the South Pole of Kahani is a spring known as the Source of Stories, from which according to the premise of the plot originated all stories ever communicated. The prevention of this spring's blockage therefore forms the climax of the novel's plot. A young, curious, courageous, outspoken child. He struggles throughout most of the story with a form of attention-deficit disorder caused by his mother running away with Mr.
Sengupta at exactly eleven o'clock, and under its influence he is unable to concentrate for a longer period of time not more than eleven minutes. But he eventually overcomes his disorder at the climax, never to suffer from it again. He and his father are both named after the "legendary Caliph of Baghdad, Haroun al-Rashid, who features in many Arabian Nights tales.
Their surname Khalifa actually means Caliph"  Rashid: Haroun's father, known as the Shah of Blah and the Ocean of Notions for his ability to devise stories impromptu, Rashid is a professional storyteller sometimes hired by corrupt politicians to persuade constituents in their favour.
His attachment to his wife and to his practice of storytelling, is probably his greatest psychological weaknesses; when either of them is lost, he becomes depressed and tends to lose the other. In the story, to recover the latter, he travels to Kahani by means known as 'Rapture', through which he is able to travel inside his dreams and wake up in the world, his dream has created. Having reached Kahani, he alerts the Guppees about the location of their Princess Batcheat and later joins their army to rescue her from the Chupwalas.
Soraya: Rashid's wife, who is tired of his imagination and leaves him for the dull and dreary Mr. Sengupta, a neighbour. That she is becoming alienated from Rashid is implied early in the story, where she is said to have abandoned her daily songs. At the end, she returns to Rashid, and revives her affection for her husband and son. Upon her return, the depression overwhelming Rashid and the syndrome manifested by Haroun do not reappear. Her name is probably Persian in origin.
Sengupta: Haroun's neighbour, who elopes with Soraya. As a rule, Mr.
Sengupta despises imagination and stories, which sets the stage for his later appearance on Kahani as antagonist Khattam-Shud. Khattam-Shud's defeat seems to correspond with Soraya's desertion of Mr. Sengupta, who does not appear again in person.
His name is a legitimate Bengali surname. Miss Oneeta: Mr. Sengupta's obese, talkative, self-important, overwhelmingly emotional, generous wife, disappointed in her husband after he has eloped with Soraya.
In her dismay, she disowns him and her married name. It is she who reveals that Soraya has deserted her family and that her act has given Haroun his disorder, and also announces her return.
Butt: The mail courier, a reckless driver who, when requested to provide transport for Haroun and Rashid who is expected to speak at an election of public officers , ignores all other demands to take them to their destination before dusk. He is implied equivalent of the Hoopoe, who also serves as Haroun's transportation. Snooty Buttoo: A corrupt politician who hires Rashid to convince constituents that he Buttoo should be re-elected.
Buttoo is a class-conscious, pompous, arrogant, self-assured person whose chief hold over his constituents is that he has been re-elected before. Ultimately driven from his district by popular demand. Butt the Hoopoe: A mechanical Hoopoe who becomes Haroun's steed in Kahani, capable of almost all known mental feats, including telepathy the latter producing a recurrent joke that he "spoke without moving [his] beak". He is also capable of flying at impossible speeds, between Earth and Kahani.
Because he shares with Mr. Butt the idiosyncrasy of saying "but but but" at the beginning of sentences, in addition to some superficial details of appearance, he is called by the same name.
The full edict runs: Message on the publication of the apostasian book: Satanic Verses In the name of God Almighty; there is only one God, to whom we shall all return; I would like to inform all the intrepid Muslims in the world that the author of the book entitled The Satanic Verses which has been compiled, printed and published against Islam, the Prophet and the Koran, as well as those publishers who were aware of its contents, have been sentenced to death.
I call on all zealous Muslims to execute them quickly, wherever they find them, so that no one will dare to insult the Islamic sanctions.
Whoever is killed on this path will be regarded as a martyr, God willing. In addition, anyone who has access to the author of the book, but does not possess the power to execute him, should refer him to the people so that he may be punished for his actions.
Preview Unable to display preview. Download preview PDF. All must assume their responsibility and be like Mali, the Floating Gardener doing the maintenance of the Ocean and also like Goopy and Bagha, the rhyming Plentimaw Fishes in whose stomachs old stories are recycled and then released back to the Ocean.
Then surely it must be exercised to the full? However, though Rushdie proposes that even a Parliament entitled Chatterbox where decisions are postponed for years, and rulers like the idiot Prince Bolo and the brainless Blatcheat who also does her share of irresponsible corruption and pollution by altering the stories written on the bodies of the Pages so that her beloved can be a hero in all of them are preferable to any type of tyranny, he adopts a deconstructionist position by dismantling the dichotomy between silence and speech.
Gup is warm and Chup is freezing cold. Gup is all chattering and noise, whereas Chup is silent as shadow. Guppees love the Ocean, Chupwalas try to poison it. It was a war between Love [ Opposites attract, as they say. Rushdie, who had been separated from his son with the declaration of the fatwa, dedicates Haroun and the Sea of Stories to Zafar in an acrostic but one senses Rushdie reaching for others as well: Z embla, Zenda, Xanadu: A ll our dream-worlds may come true.
F airy lands are fearsome too. A s I wander far from view R ead, and bring me home to you Notwithstanding the identified reader being his son, even in these lines Rushdie is making references to his political situation: the repression of freedom of speech in Iran and similarly oriented countries, his hiding, and his desire that, in spite of it all, that his words still reach his public.
With his magic touch Salman Rushdie has once again created a book which can be read at different levels of meaning: as a fable, as fantasy, adventure, allegory or an autobiographical novel. The intertexts have been pinpointed with scrupulous detail in several articles. Nevertheless Salman Rushdie rejects the term postmodernist for he feels it to be a scholarly term and prefers instead to see the so-called postmodernist elements arising from the influence of ancient sources had on him.
In an interview with Akbar Ahmed, he comments: To my mind the Arabian Nights was the book which showed me more about writing than anything else. Ahmed,  A chief reference has to be the collection The Ocean of the Streams of Story itself, known as the Kathasaritsagara, dating back to the eleventh century. It is actually mentioned in Haroun, as Snooty Booty has an edition of the tales in his houseboat which is purposefully named Arabian Nights.
Another significant reference is the twelfth century Sufi poem The Conference of the Birds, a fabulist narrative where all characters are birds led on a pilgrimage by a hoopoe. Salman Rushdie puts an emphasis on the influence of traditional tales and oral narrative referred to as Old Zone in Haroun both admittedly in interviews and metafictionally.
The treatment given to characters reflects this influence through caricature Khatttam-Shud, Snooty Booty and literary intertextuality Haroun and Rashid are the de-fragmented names of Haroun al-Rashid, a Caliph in The Arabian Nights which includes the Panchatantra.
But characters are also of a more fantastical nature more akin to the fable, though they are not ordinary animals speaking of humanity; Butt the Hoopoe, a mythic figure, here is a mechanical creature; Iff is a Water Genie, thus a being drawn from the rich Indian tradition of storytelling; Mali, Goopy and Bagha are wholly chimerical creatures, the former a type of weed with vegetable tentacles and lilac-mouthed and the Plentimaws were triangular sea-monsters with plenty of mouths to suck in and blow out stories.
There is also the army of Pages and General Kitab, their commander, is a book. Finally, there were the Eggheads whose shaved heads gave them a humanoid appearance. Meaningfully yet, it also represents the encounter of the city with its own identity, and Rashid with himself as his talents are recovered and used to instigate voters to act according to their consciousnesses and thus to make full use of their right to freedom of expression.
You have politicians or the media or whoever, the people who form opinion, who are, in fact, making the fictions. Michael R. Reder Conversations with Salman Rushdie. Jackson: University Press of Mississippi, Philadelphia: University of Pennsylvania Press. Amsterdam and Atlanta: Rodopi, Novelists in Interview. London: Methuen.