In reply to Big Ger:
> Interesting, you provide an article which claims to provide a bibliography of the multitude of references that Rushdie makes. But it contains no reference to TSV being any sort of insight into Islam, so what was your point?
> Maybe you should look deeper than checking TSV out in Wikipedia, then quoting one of the cross-references from there. Or, if you are going to do that, you should check out that your quote actually supports your own argument, not mine, as this one does.
> You should also read "The Satanic Verses", especially before you criticise others for not having read it.
Well, I could refer you to my post on Monday in which I explained all this, but let me walk you through it gently.
For a start - and at this you will breathe a sigh of relief - I'm not saying it's essential to have read this one book to discuss these issues. After all, it may not be to your taste. You may have read lots of other books. Whatever. My use of the word "read" in my original post was about people who'd "not read the book" because they'd started reading it, and couldn't get on with it - which seemed the most common response on here. I'd hoped that was clear from the context, but perhaps not.
And as I also said above (see how tedious this repetition is when your interlocutor struggles with comprehension?), some people just don't get on with magical realism in general. That is, of course, just fine. But what is it in Rushdie's brand of magical realism that people struggle with? Having read two out of three of Rushdie's major works, I reckon that it's the "subcontinental-ness" of the books that people struggle to connect with. If you're not at least familiar with that world, it doesn't make so much sense.
Or as the essay I linked to says: "He throws off phrases in Hindi, Arabic, and Urdu which are bound to make the Western reader feel something of an outsider. He delights in playing with those aspects of Indian and Arabic culture which have been trivialized in the West... satirizing the failure of Europeans to grasp what they persistently exoticize. Indeed the work is largely a critique of Western racism, of anti-immigrant prejudice, and a defense of the richness and worth of South Asian and Middle Eastern culture...."
And later: "...part of his style is meant to startle the Western reader into realizing he/she is not the center of all stories."
So, for example, one of the main characters is Gibreel Farishta, right? Now if you speak Urdu (I do), you'll get straight away what his name means. If you don't, it'll go straight over your head. The same with Saladin Chamcha, which is funny if you get it and just another Indian name if you don't. Tho I was delighted to discover that a chamcha isn't just a spoon, it's a colloquial word for a brown-noser, a suck up. So there you go, I didn't quite get the joke either. And that's part of the reason I've not yet read TSV - I'm not sure I'd grasp enough of it to make it a worthwhile experience. (I certainly felt the same reading Candide, YMMV.)
You seem quite exercised on the point of whether "TSV gives any insight into Islam", and quote much on Rushdie's background, focussing on his liberal, non-denominational childhood and ignoring his adult learning and intentions, or as the article says: "Rushdie seems to have been trying to become the Muslim Voltaire..."
Of course despite being a book whose characters are almost entirely Muslim, the book isn't "about" Islam - despite not having read it I know that Rushdie will throw a lot into the pot - quite the massala no? But I hope my point remains: that knowing about Islam, South Asia and the Middle East helps an awful lot in understanding and enjoying Rushdie's work, and that if you don't have this background, perhaps you might want to tread carefully in this subject area. I'm not expecting you to be a chamcha but as I said, it's good to know what you don't know. Instead, we see people using the book as a political football (both the Ayatollahs and their opponents).
This also, of course, links back to John's original point about rampant fear of Muslims. To quote Rushdie:
"Those who oppose the novel most vociferously today are of the opinion that intermingling with a different culture will inevitably weaken and ruin their own. I am of the opposite opinion. The Satanic Verses celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelization and fears the absolutism of the Pure. Mélange, hotchpotch, a bit of this and a bit of that is how newness enters the world. It is the great possibility that mass migration gives the world, and I have tried to embrace it."