The ground beneath her feet: "Third world" feminisms Download full-text PDF . immigration, and American identity in the fiction of Salman Rushdie, Ralph. Salman Rushdie's The ground beneath her feet The central characters of Rushdie's epic, complex, sprawling narrative – Rai, the narrator, and his friends, Ormus. On the surface, The Ground Beneath Her Feet would appear to be no exception to this rule. but to Rushdie's own project in The Ground Beneath Her Feet, where the .. 11 Salman Rushdie, 'Rock Music' in Step Across This Line (London .
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The Ground Beneath Her Feet. Home · The Ground Beneath Her Feet Author: Salman Rushdie The Light-years Beneath My Feet · Read more. Salman Rushdie's most ambitious and accomplished novel, sure to be hailed as his piccologellia.info the beginning of this stunning novel, Vina Apsara, a famous. PDF | On Nov 1, , Pierpaolo Martino and others published The Abstract II: The Ground Beneath Her Feet – Salman Rushdie's cult.
Skip to main content. Log In Sign Up. Singular Multiplicity: The Ground Beneath Her Feet. Chapter 11 Singular Multiplicity:
The problem is not so much the nature of the theories themselves, but the way in which they are explained, and especially the forceful didacticism of the narrative voice. The theory also, crucially, questions the validity of totalising theories: The only people who see the whole picture are the ones who step out of the frame. If he was right then this is the subject also.
If he was wrong, then the lost are merely lost. Stepping out of the frame, they simply cease to exist. Indeed, the novel presents the artist as such an outsider. As Ormus himself admits: It could just be I found a way of stepping outside the picture.
But Rushdie does not rely upon mere characterisation to bring this point home: You stepped off the face of the earth, or through the fatal waterfall, and there it was: Great music everywhere. Vina was the first one of us to do it. Ormus jumped second, and I, as usual, brought up the rear.
And if a note of caution and questioning is sounded in the above quotation, this is not always the case. In the following quotation, Rai makes crystal clear his ideological position: And not only by that: This strong ideological standpoint is presented particularly forcefully in the following passage: Such extreme rhetoric is highly problematic, and it is not clear that the narrative voice is in any way ironised.
Rushdie here presents us with a totalising, universal theory: This is a notable, intrusive, and singular narrative voice. Puns, in their polysemy, are important manifestations of linguistic ambiguity and indeterminacy; in The Ground Beneath Her Feet, however, such potential for openness is firmly fixed by a narrative anxiety for the reader to understand what the pun should be taken to mean. But Rushdie, by clearly and repeatedly emphasising the significance of the etymological source that produces the pun ends up fixing its significance.
And of Ormus Cama, her sun.
Disorientation is loss of the East. Ask any navigator: Lose the east and you lose your bearings, your certainties, your knowledge of what is and what may be, perhaps even your life. Where was that star you followed to that manger? The east orients. The language says so, and you should never argue with the language. This is the case for puns throughout the novel, which are frequently very fully explained.
Lo and behold art. The reader could initially be forgiven for assuming that the novel embraces Bakhtinian polyglossia: Vina and Rai, we are told: Our acronymic name for it was Hug-me. Hindi Urdu Gujarati Marathi English. Bombayites like me were people who spoke five languages badly and no language well.
Linguistic colloquialisms and incongruities abound, but, even where they are not explicitly used to represent dialogue, it is always crystal clear that they are intentional stylistic devices, and thus are markers of linguistic sophistication rather than incompetence. If the earlier novel celebrates interlingual interference, however, The Ground Beneath Her Feet tends more towards mockery. Characters whose English bears the traces of other languages are almost always unsympathetic or insignificant, and the way their speech is presented suggests that it is comically incorrect or inadequate.
Take, for example, the speech of Piloo Doodhwala, an unambiguously unsympathetic character, whose pompous ridiculousness is reflected in an exaggeratedly Indianised English: You know that this bombil phish declined to help Lord Rama to build the bridge to Lanka, phor purpose of rescuing Lady Sita?
And therephore he squeezed it tight-tight and crushed all its bones, so now it is boneless wonder? No, how can you know, for you are conwerts.
It is clear that we are not meant to think well of language like this. Theory, Contestation, Limits: In fusioning a Few Indian English Novels, ed. Ranjan Ghosh Lanham, Oxford: University Press of America, , 2. The Experience of Modernity London: Verso, , Vintage, , Subsequent page references to the novel will be presented in parentheses.
Everything starts shifting, changing, getting partitioned, separated by frontiers, splitting, re-splitting, coming apart. Centrifugal forces begin to pull harder than their centripetal opposites.
Eliot, ed. Frank Kermode London: Faber and Faber, , Abdulrazak Gurnah Cambridge: Cambridge University Press, , Fictions of Postcolonial Modernity Basingstoke: Palgrave Macmillan, , At the beginning of this stunning novel, Vina Apsara, a famous and much-loved singer, is caught up in a devastating earthquake and never seen again by human eyes. This is her story, and that of Ormus Cama, the lover who finds, loses, seeks, and again finds her, over and over, throughout his own extraordinary life in music.
Their epic romance is narrated by Ormus's childhood friend and Vina's sometime lover, her "back-door man," the photographer Rai, whose astonishing voice, filled with stories, images, myths, anger, wisdom, humor, and love, is perhaps the book's true hero.
Telling the story of Ormus and Vina, he finds that he is also revealing his own truths: He is a man caught up in the loves and quarrels of the age's goddesses and gods, but dares to have ambitions of his own.
And lives to tell the tale. Around these three, the uncertain world itself is beginning to tremble and break. Cracks and tears have begun to appear in the fabric of the real. There are glimpses of abysses below the surfaces of things. The Ground Beneath Her Feet is Salman Rushdie's most gripping novel and his boldest imaginative act, a vision of our shaken, mutating times, an engagement with the whole of what is and what might be, an account of the intimate, flawed encounter between the East and the West, a brilliant remaking of the myth of Orpheus, a novel of high and low comedy, high and low passions, high and low culture.
It is a tale of love, death, and rock 'n' roll.