...Sabina Sawhney; Simona Sawhney Copyright © Hofstra University 2002 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Introduction Reading Rushdie after September 11, 2001 Sabina Sawhney and Simona Sawhney T h e...

...Shailja Sharma Copyright © Hofstra University 2002 Salman Rushdie: The Ambivalence of Migrancy Shailja Sharma I n her essay on The Satanic Verses, Gayatri Chakravorty Spivak tempo­ rarily brackets her discussion of the Rushdie affair in order to “attempt the impossible: a reading...

...Neil ten Kortenaar Copyright © Hofstra University 2008 w Fearful Symmetry: Salman Rushdie and Prophetic Newness Neil ten Kortenaar I n Salman Rushdie’s The Satanic Verses a disembodied voice asks, “How does newness come into the world? How is it born?” (8).The question...

...Teresa Heffernan Copyright © Hofstra University 2001 Apocalyptic Narratives: The Nation in Salman Rushdie’s Midnights Children Teresa Heffernan The radically performative laying down of the law by the legislator must create the very context...

...Eric D. Smith Copyright © Hofstra University 2012 Worldlessness, Utopia, and the Void in Rushdie’s Grimus “Fictions Where a Man Could Live”: Worldlessness, Utopia, and the Void in Rushdie’s Grimus Eric D. Smith From that day to this, I have thought of myself as a wholly...

.... —Salman Rushdie (Imaginary Homelands 16) E tver since Salman Rushdie described the Indian “national longing for form” in his novel Midnight’s Children (359), questions of form have been a central topic for Rushdie scholarship. Form, or, to use a slightly more specific term, genre, is so central...

... with examples of Sufis who have been dubbed heretics for their unorthodox beliefs and either driven into banishment or murdered by jealous tyrants. Salman Rushdie first makes reference to The Conference of the Birds Twentieth-Century Literature 47.4 Winter 2001 444 Haroun and the Sea of Stories...

...Rachel Falconer Copyright © Hofstra University 2002 Bouncing Down to the Underworld: Classical Katabasis in The Ground Beneath Her Feet Rachel Falconer I n an essay on Italo Calvino, Rushdie writes that “perhaps the most dominant characteristic of Calvino’s entire output...

...Patrick Colm Hogan Copyright © Hofstra University 2002 Midnight's Children: Kashmir and the Politics of Identity Patrick Colm Hogan M . Keith Booker has recently drawn attention to a common ten­ dency in the interpretive criticism of Salman Rushdie, and indeed of much...

...Kalyan Nadiminti Nabokov, Rushdie and the Transnational Imagination: Novels of Exile and Alternate Worlds , by Trousdale Rachel , New York : Palgrave Macmillan , 2010 . 252 pages. Copyright © Hofstra University 2012 Review Imagining Rooted Cosmopolitanism Nabokov, Rushdie...

...Alexandra W. Schultheis Copyright © Hofstra University 2002 Postcolonial Lack and Aesthetic Promise in The Moor’s Last Sigh Alexandra W. Schultheis I n his documentary film The Riddle of Midnight, Salman Rushdie re­ turns to India 40 years after independence to see...

... literature to provide the voice for our times. Modernism’s self-conscious style and outsider sensibility, he argues, is eminently suited to the cosmopolitan project, and it is as mod- ernists that Spencer analyses the authors of his study. These include not only Coetzee and Mo but also Salman Rushdie...

... both for contemporary discourses of cosmopolitanism and for a certain subset of postmodern novels. In chapters on Joseph Conrad, James Joyce, Virginia Woolf, Kazuo Ishiguro, Salman Rushdie, and W. G. Sebald, Walkowitz develops what she calls a “critical cosmopolitanism,” one...

... 47.3 (2001): 374-390 Hannum, Howard LScared sick looking at it’:A Reading of Nick Adams in the Published Stories.” 47.1 (2001): 92—113 Hays,Tony. See Durham Heaney, Seamus. See Boly Heffernan,Teresa. “Apocalyptic Narratives: The Nation in Salman Rushdie’s Midnight’s Children...

... of rememory, which entails “both anamnesis and construction,” as Ashraf Rushdy (1990 : 304) observes, “is never only personal but always interpersonal.” While scholars have conceptualized the neo-slave narrative in various ways, there is broad agreement with Rushdy’s (1997: 533) general outline: Neo-slave...

... with the work of Ashraf Rushdy: “The neo-slave narrative officially begins when we no longer have access to unmediated testimonial accounts of slavery,” whereas “the neo-segregation narrative . . . has not come into sharp focus because . . . not enough historical dis- tance [exists] between...

... make their work extremely difficult to categorize as exclusively American or English, modernist or postcolonial. Indeed, it is not until we juxtapose more people in the family picture— not just Wal­ cott and Joyce but Rushdie and Joyce, Desai and Woolf, Ondaatje and Stevens...

... it signify differently, must come through the transmutation of trauma into music—a transmutation cast not just as an individual process but also as an indication of the survival of the African diaspora itself. In Ashraf H. A. Rushdy’s words, for instance, her blues singing is “a sign that she has learned...

... Wechsler Rushdie, Salman. See Sawhney Sacher-Masoch, Leopold von. See Rado Saltzman, Arthur. “Avid Monsters: The Look of Agony in Contemporary Litera­ ture.” 45.2 (1999): 236-52 Sawhney, Simona. “Satanic Choices: Poetry and Prophecy in Rushdie’s Novel.” 45.3 (1999): 253-77 Schmitt...

... where he had been a slave. “But it was where we were,” another responds, “all together. Comes back whether we want it to or not.” Destroying the old and creating the new in works by writers like Morrison, Salman Rushdie, Angela Carter, Ishmael Reed, Octavia Butler, and Donna Haraway involves...