Salman Rushdie Fatwa and The Satanic Verses http

Salman Rushdie Fatwa and The Satanic Verses http: //en. wikipedia. org/wiki/Salman_Rush die

Magic Realism 2 -1 • Magical realism refers to the occurrence of supernatural, or anything that is contrary to our conventional view of reality [it is] not divorced from reality either, [and] the presence of the supernatural is often attributed to the primitive or 'magical' Indian mentality, which coexists with European rationality. Floyd Merrel explains that 'magical realism stems from the conflict between two pictures of the world'.

Magic Realism 2 -2 • Magical realism is thus based on reality, or a world with which the author is familiar, while expressing the myths and superstitions of the American Indians, [and it] allows us to see dimensions of reality of which we are not normally aware. (Amaryll Beatrice Chanady. Magical Realism and the Fantastic Resolved versus Unresolved Antinomy. New York: Garland Publishing, 1985. 16 -31).

Magic Realism • Magical realist fiction is: --A disruption of modern realist fiction --creates a space for interaction and diversity --no less 'real' than traditional 'realism' --about transgressing boundaries, multiple worlds --on the boundaries and destabilizes normative oppositions --subversive --an international phenomenon (Lois Parkinson Zamora and Wendy B. Faris. Introduction: Daiquiri Birds and Flaubertian Parrot(ie)s. Magical Realism. Ed. L. P. Zamora and W. B. Faris).

Magic Realism and Rushdie’s Midnight’s Children 2 -1 • The novel is labelled 'magic realism' to emphasize its juxtaposition of the realist and the fantastic. A critical consensus has it that magic realism is particularly well suited to the handling of materials from the Third World, where colonialism has resulted in the juxtaposition of cultural frameworks with different origins and where uneven development means that different modes of production exist side by side.

Magic Realism and Rushdie’s Midnight’s Children 2 -2 • According to such a reading, magic realism, because it recovers or reclaims 'cultural discourses dominated until now by the centralizing and suppressing impulses of an imperial culture in decline' (Lopez, 210), is the literary expression of cultural hybridity, a favourite topos of postcolonial critics, most closely associated with Homi Bhabha and Rushdie himself. (Salman Rushdie's Magic Realism and the Return of Inescapable Romance. University of Toronto Quarterly, 00420247, Summer 2002, 卷 71, 刊號 3 )

“The Prophet’s Hair”

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Question • Why is it appropriate that the moneylender Hashim, of all people, should be so "lucky" as to happen upon the stolen vial with the Prophet's lock of hair? That is, what is it about his way of life, and the attitudes he manifests, that might make him the man to have such an experience? And why does he keep the vial instead of returning it to the mosque?

Question • General question: what features of "magic -realism" appear in this short story? What do the conventions of such a genre as magic-realism make possible that would not be possible in a story without supernatural occurrences?