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NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • Los Angeles Times • San Francisco Chronicle • Harper’s Bazaar • St. Louis Post-Dispatch • The Guardian • The Kansas City Star • National Post • BookPage • Kirkus Reviews From Salman Rushdie, one of the great writers of our time, comes a spellbinding work of fiction that blends history, mythology, and a timeless love story. A lush, richly layered novel in which our world has been plunged into an age of unreason, Two Years Eight Months and Twenty-Eight Nights is a breathtaking achievement and an enduring testament to the power of storytelling. In the near future, after a storm strikes New York City, the strangenesses begin. A down-to-earth gardener finds that his feet no longer touch the ground. A graphic novelist awakens in his bedroom to a mysterious entity that resembles his own sub–Stan Lee creation. Abandoned at the mayor’s office, a baby identifies corruption with her mere presence, marking the guilty with blemishes and boils. A seductive gold digger is soon tapped to combat forces beyond imagining. Unbeknownst to them, they are all descended from the whimsical, capricious, wanton creatures known as the jinn, who live in a world separated from ours by a veil. Centuries ago, Dunia, a princess of the jinn, fell in love with a mortal man of reason. Together they produced an astonishing number of children, unaware of their fantastical powers, who spread across generations in the human world. Once the line between worlds is breached on a grand scale, Dunia’s children and others will play a role in an epic war between light and dark spanning a thousand and one nights—or two years, eight months, and twenty-eight nights. It is a time of enormous upheaval, in which beliefs are challenged, words act like poison, silence is a disease, and a noise may contain a hidden curse. Inspired by the traditional “wonder tales” of the East, Salman Rushdie’s novel is a masterpiece about the age-old conflicts that remain in today’s world. Two Years Eight Months and Twenty-Eight Nights is satirical and bawdy, full of cunning and folly, rivalries and betrayals, kismet and karma, rapture and redemption. Praise for Two Years Eight Months and Twenty-Eight Nights “Rushdie is our Scheherazade. . . . This book is a fantasy, a fairytale—and a brilliant reflection of and serious meditation on the choices and agonies of our life in this world.”—Ursula K. Le Guin, The Guardian “One of the major literary voices of our time . . . In reading this new book, one cannot escape the feeling that [Rushdie’s] years of writing and success have perhaps been preparation for this moment, for the creation of this tremendously inventive and timely novel.”—San Francisco Chronicle “A wicked bit of satire . . . [Rushdie] riffs and expands on the tales of Scheherazade, another storyteller whose spinning of yarns was a matter of life and death.”—USA Today “A swirling tale of genies and geniuses [that] translates the bloody upheavals of our last few decades into the comic-book antics of warring jinn wielding bolts of fire, mystical transmutations and rhyming battle spells.”—The Washington Post “Great fun . . . The novel shines brightest in the panache of its unfolding, the electric grace and nimble eloquence and extraordinary range and layering of his voice.”—The Boston Globe From the Hardcover edition.
Focuses on the novels published since 2000 by twenty major British novelistsThe Contemporary British Novel Since 2000 is divided into five parts, with the first part examining the work of four particularly well-known and highly regarded twenty-first century writers: Ian McEwan, David Mitchell, Hilary Mantel and Zadie Smith. It is with reference to each of these novelists in turn that the terms arealist, apostmodernist, ahistorical and apostcolonialist fiction are introduced, while in the remaining four parts, other novelists are discussed and the meaning of the terms amplified. From the start it is emphasised that these terms and others often mean different things to different novelists, and that the complexity of their novels often obliges us to discuss their work with reference to more than one of the terms.Also discusses the works of: Maggie OFarrell, Sarah Hall, A.L. Kennedy, Alan Warner, Ali Smith, Kazuo Ishiguro, Kate Atkinson, Salman Rushdie, Adam Foulds, Sarah Waters, James Robertson, Mohsin Hamid, Andrea Levy, and Aminatta Forna.
Just before dawn one winter’s morning, a hijacked aeroplane blows apart high above the English Channel and two figures tumble, clutched in an embrace, towards the sea: Gibreel Farishta, India’s legendary movie star, and Saladin Chamcha, the man of a thousand voices. Washed up, alive, on an English beach, their survival is a miracle. But there is a price to pay. Gibreel and Saladin have been chosen as opponents in the eternal wrestling match between Good and Evil. But chosen by whom? And which is which? And what will be the outcome of their final confrontation?
Scientific Essay from the year 2016 in the subject English Language and Literature Studies - Literature, Comenius University in Bratislava (Englische Literatur), language: English, abstract: This paper is about Salman Rushdie and two of his major works. The approach to work on "The Satanic Verses" and his latest publication "Two Years Eight Months and Twenty-Eight Nights" (2015) tries to (critically) reflect Rushdie's development as a writer within the time span of almost three decades. Twenty-seven years for a writer and his community might be an eternity since the world has tremendously changed since then. Rushdie himself, however, in both novels sticks to major themes of his interest. Among them are the parameters used here. Identity, metamorphosis and (religious) fanaticism can be found in both novels and it is the focus on these three which will be central here. To do so not only helps to reflect major literary topics Rushdie is concerned about it also shows the development these matters have taken within Rushdie' s literary work and the world it reflects. In is exactly the historical framework which Rushdie uses which helps to understand his literary attempt because he said in an interview with the German magazine "Stern" in 2015 that he understands himself as an author who lives in a certain period of time and who therefore has to write about it. The dualistic concept that links the narrative in both novels analysed here must also be seen in this historical framework. Rushdie sees modern man in a globalized world as homeless, hybrid, bound to metamorphosis, caught between the rational and the irrational yet open for positive options which he can choose provided he uses his freedom. So identity, metamorphosis, religion and fundamentalism are closely connected to personal freedom and it will thus be interesting to see how Rushdie's ideas have been worked into both novels. The structure of this book is therefore as follows: A first part will consist in some sort of background information on Rushdie and his position in contemporary English literature. A second major part will consist in a short introduction of the postcolonial setting. This helps to place Rushdie's work in a literary background. A next step lies in a closer analysis of chosen parameters such as the use of the hybrid Islamic spirituality, transcendence, identity formation, failure and powerlessness. The next important step lies in a close interpretation of both works. This will be followed by an outlook.
NEW YORK TIMES BESTSELLER • A modern American epic set against the panorama of contemporary politics and culture—a hurtling, page-turning mystery that is equal parts The Great Gatsby and The Bonfire of the Vanities NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • PBS • HARPER’S BAZAAR • ESQUIRE • FINANCIAL TIMES • THE TIMES OF INDIA On the day of Barack Obama’s inauguration, an enigmatic billionaire from foreign shores takes up residence in the architectural jewel of “the Gardens,” a cloistered community in New York’s Greenwich Village. The neighborhood is a bubble within a bubble, and the residents are immediately intrigued by the eccentric newcomer and his family. Along with his improbable name, untraceable accent, and unmistakable whiff of danger, Nero Golden has brought along his three adult sons: agoraphobic, alcoholic Petya, a brilliant recluse with a tortured mind; Apu, the flamboyant artist, sexually and spiritually omnivorous, famous on twenty blocks; and D, at twenty-two the baby of the family, harboring an explosive secret even from himself. There is no mother, no wife; at least not until Vasilisa, a sleek Russian expat, snags the septuagenarian Nero, becoming the queen to his king—a queen in want of an heir. Our guide to the Goldens’ world is their neighbor René, an ambitious young filmmaker. Researching a movie about the Goldens, he ingratiates himself into their household. Seduced by their mystique, he is inevitably implicated in their quarrels, their infidelities, and, indeed, their crimes. Meanwhile, like a bad joke, a certain comic-book villain embarks upon a crass presidential run that turns New York upside-down. Set against the strange and exuberant backdrop of current American culture and politics, The Golden House also marks Salman Rushdie’s triumphant and exciting return to realism. The result is a modern epic of love and terrorism, loss and reinvention—a powerful, timely story told with the daring and panache that make Salman Rushdie a force of light in our dark new age. Praise for The Golden House “[A] modern masterpiece . . . telling a story full of wonder and leaving you marveling at how it ever came out of the author’s head.”—Associated Press “Wildly satiric and yet piercingly real . . . If F. Scott Fitzgerald, Homer, Euripides, and Shakespeare collaborated on a contemporary fall-of-an-empire epic set in New York City, the result would be The Golden House.”—Poets & Writers “A tonic addition to American—no, world!—literature . . . a Greek tragedy with Indian roots and New York coordinates.”—San Francisco Chronicle
The novel that set the stage for his modern classic, The Satanic Verses, Shame is Salman Rushdie’s phantasmagoric epic Omar Khayyam Shakil had three mothers who shared everything. They shared the symptoms of pregnancy, they shared the son that they all claim to have borne on the same night. Raised at their six breasts, Omar's mothers teach him to live a life without shame. And it is training that proves very useful when he leaves his mothers’ fortress and makes the fateful mistake of falling in love. For he finds himself an unwitting player in an ongoing duel between the families of two men – one a celebrated wager of war, the other a debauched lover of pleasure – living in a world caught between honour and humiliation, where a moment of shame could prove fatal. ‘Shame is every bit as good as Midnight's Children. It is a pitch-black comedy of public life and historical imperatives’ The Times
Abstract: This interview with Salman Rushdie took place in May 2017 in Lyon, France, when he answered the questions of students from the École Normale Supérieure de Lyon and from high schools and universities in Lyon, Paris and Nantes. The novels discussed include Two Years, Eight Months and Twenty-Eight Nights, The Satanic Verses, Midnight's Children and Shalimar the Clown . Rushdie reflects on the flexibility of the word "story" for him, on his attraction for cities and on his relation to magic realism and Latin American writers like García Márquez. He talks about the children's books that have inspired him ( The Arabian Nights and Lewis Carroll's Alice books) as well as the great books he has learned from ( Don Quijote, Tristram Shandy, Ulysses ). He also refers to the comic dimension of some of his books, the joys and difficulties of translation, and his experience as a screenplay writer.

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