By Ana Cristina Mendes
In Salman Rushdie’s novels, photographs are invested with the ability to govern the plotline, to outline activities from the characters, to have sway over them, seduce them, or perhaps lead them off target. Salman Rushdie and visible Culture sheds mild in this mostly unremarked – no matter if important – size of the paintings of an important modern author. This assortment brings jointly, for the 1st time and right into a coherent complete, examine at the broad interaction among the seen and the readable in Rushdie’s fiction, from one of many earliest novels – Midnight’s Children (1981) – to his most up-to-date – The Enchantress of Florence (2008).
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25 Moreover, by tracing India’s history through the genealogy of the Zogoiby family and Aurora Zogoiby’s paintings, Rushdie draws a parallel between the disintegration of Moorish Spain, and the expulsion of Jews and Moors by the Catholic monarchs Isabella and Ferdinand in the fifteenth century, and the sweeping away of Nehru’s secular pluralist vision of India by the right-wing ideology of Hinduvata. 27 This idealization of a cosmopolitan Bombay and its subsequent destruction by the forces of right-wing Hindu nationalism is linked, in other words, to Rushdie’s fictionalized history of Indian modernism in the visual arts.
In The Exiles of Marcel Duchamp (2007), T. J. Demos argues that a “spirit of expatriation” and a “commitment to itinerancy” infuse Duchamp’s artwork. ”10 For Demos, the experience of exile “crystallized [ . . ”12 In a similar vein, Rushdie’s fictional evocation of South Asia “in CinemaScope and glorious Technicolor” is underpinned by the experience of exile, as he explains in “Imaginary Homelands” (1991): It may be that writers in my position, exiles or emigrants or expatriates, are haunted by some sense of loss, some urge to reclaim, to look back, Beyond the Visible 35 even at the risk of being mutated into pillars of salt.
This becomes apparent if we compare Phillips’s novel, A Humument, with Rushdie’s pre-fatwa novel Midnight’s Children—two fictions that, despite their manifest physical difference, share a number of thematic and aesthetic concerns. 18 Perhaps one of the arterial ‘mere connections’ between Rushdie and Phillips, however, concerns their mutual desire to, in the language of the Humument, “Surprise / the shelves / disturb / old books” (page 75). 19 Rushdie, more figuratively but no less meaningfully, also repeatedly invokes and displaces earlier traditions of representation—many of them literary, but many of them also cinematic, photographic, and artistic.