( Photo by Gilles Press/Magnun)
An interesting book review by Zoe Heller of Salman Rushdie’s recent book “Joseph Anton: A Memoir”.
Salman Rushdie argues that a “Fiction” and “Art” should be immune from political and religious anger. The reveiwer writes;
“By this point in his career, Rushdie, who had already been sued by Indira Gandhi for libelous statements in Midnight’s Children and had already seen his third novel banned in Pakistan, was better qualified than most to appreciate literature’s capacity for eliciting hostile, nonliterary responses
More troubling, however, than his exaggerated claim to naiveté is the case that Rushdie seems to be making for fiction’s immunity from political or religious anger. In a departure from the standard, liberal notion that literature must be free to offend, he proposes that literature, properly understood, cannot offend. Muslims who were insulted by The Satanic Verses were guilty of a category error: just like Anis Rushdie, in his “unsophisticated” reading of Midnight’s Children, they had confused fiction with other sorts of speech:
In his famous essay “Outside the Whale,” written five years before the fatwa, Rushdie attacked various books and films for propagating imperialist myths about the nature of Indo-British relations during the Raj. (He argued, for example, that the rape plot at the center of Paul Scott’s Raj Quartet endorsed a racist fantasy about the sexual threat posed to white colonial women by “lust-crazed wogs.”) Novels, he claimed, could not be excused from criticism of this sort on grounds that they were “just” fiction: all art, in as much as it ventured to assert “what is the case, what is truth and what untruth,” was inescapably political, and part of “the unceasing storm, the continual quarrel, the dialectic of history.”
Should the freedom of speech be upheld at any cost? The reviewer writes;
Readers will differ in their opinions of whether the free speech represented byThe Satanic Verses paperback was worth upholding at any cost. But even those who take Rushdie’s side on this will be hard pressed to match his scorn for the opposing point of view. By the time the Rushdie Affair was over, it had resulted in the deaths of more than fifty people. The questions that Mayer and Mehta and Gottlieb raised about the wisdom and the morality of continuing to publish in such circumstances seemed then, and seem now, perfectly reasonable and humane.
About Salman Rushdie and Islam, the reviewer writes;
Of all the retrenchments and narrowings of viewpoint that are on display in Joseph Anton, the saddest, perhaps, is his altered attitude toward Islam. Throughout the fatwa, Rushdie carefully resisted the temptation to make Islam itself the enemy. “The thing called Islamism is not the same thing as Islam,” he told David Cronenberg in 1995. “This political thing which we call fundamentalism, everybody is scared stiff of it. It is not a religious movement, it’s a political fascist movement which happens to be using a certain kind of religious language.”2
But his tolerance for this sort of distinction has since waned. Now he regards any efforts to separate reactionary forms of Islam from Islam itself as dishonest and wrong. They are, he claims, embarrassing corollaries of the old attempts by Western Marxists to separate the “true” Marxist way from the horrors of Soviet communism. Islam is not after all a heterogeneous entity but a sickening, murderous monolith, and Western “respect” for the religion—to be placed, at all times, in scornful quotation marks—is only ever “Tartuffe-like hypocrisy.”
“How are we to reconcile these sentiments with the gratitude that Rushdie expresses elsewhere in the book for Muslim writers who supported him during the fatwa? Or with his belief in the artist’s role as a promoter of human tolerance? The job of literature, he instructs us in the final pages of this memoir, is to encourage “understanding, sympathy and identification with people not like oneself…to make the world feel larger, wider than before.” Some readers may find, by the end of Joseph Anton, that the world feels rather smaller and grimmer than before. But they should not be unduly alarmed. The world is as large and as wide as it ever was; it’s just Rushdie who got small.”
To read a full review click on the link below;
http://www.nybooks.com/articles/archives/2012/dec/20/salman-rushdie-case/?page=1