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Salman RushdieA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Rushdie felt that his miraculous survival was a second chance at life. Thinking of a Raymond Carver poem in which Carver called this kind of second chance “gravy,” Rushdie resolved to think of his remaining time as a kind of bonus, living each day as it came without too much thought about the future. He was delighted when Victory City was published and critics engaged with it seriously, seemingly not motivated by sympathy for what he had just been through. He was gratified by the support he got from fellow authors, who stepped in to do publicity events when he was still too weak to attend them himself. He was pleased to be writing again and thinking about future novels to work on once he completed Knife.
Despite all these positive developments, however, Rushdie and Eliza still experienced post-traumatic stress disorder (PTSD). Rushdie attended therapy and worked on more openly expressing his feelings about the trauma, while Eliza decided that she needed some time away and went to the Caribbean. Afterward, they both decided to go to London to visit his family. He contacted Scotland Yard, which had managed his security while he was in hiding in the wake of Khomeini’s death edict against him. They agreed to offer him protection, which he was grateful for, but he also felt as if it was a kind of slipping back into a past he desperately wanted to put behind him, when he was hidden away and unwelcome in many public venues. When he and Eliza arrived in England, he was relieved to find that his security detail was happy for him to go wherever he pleased and that he and Eliza were warmly welcomed at any hotels, restaurants, and other public places they visited. Rushdie felt cherished by his family and by Eliza, whose newly published book, Promise, featured a loving dedication to Rushdie. He decided to devote his remaining time on earth to love and his work.
When Rushdie briefly reactivated his Twitter (X) account to promote Victory City, he was disheartened to see “Muslim voices celebrating what had happened to [him]” (179) and decided to delete the app again. He thought about the two conflicting stories that different people believed about who he was, and he saw it as emblematic of “a wider battle of stories that bedevils us all” (179). He recalled a speech he gave at a PEN America conference in 2022, in which he characterized the rift between supporters of tyranny and supporters of freedom as a war between stories about reality. He compared Russia’s invasion of Ukraine to American racist and antidemocratic movements and to religious sectarianism and authoritarianism in India, saying that writers have a responsibility to use their own, truthful stories to battle against the false narratives that enable tyranny. Reflecting on his remarks at that conference, Rushdie decided that part of his work must be to use his writing to oppose authoritarianism and discrimination.
He notes that this resolution does not mean he is still interested in arguing about religion. He lays out his position one final time, intending it as his last public statement on the subject. Rushdie is not religious himself and was not raised in an observant family. He acknowledges that for some people religion provides a necessary moral compass, and he thinks this is fine, provided that their religion remains a private matter. When religion becomes a political weapon, however, it is dangerous; he cites several historical examples to support his point. For Rushdie, this private/public distinction is important when considering people’s reluctance to criticize religious ideas: He is all for letting people have their own, private beliefs but he believes that any ideas introduced into the public sphere should be fair game for criticism.
Rushdie believes that religions were useful ways to explain the world in prescientific times. He compares long-ago people to children who required the “parent” of religion to explain the world and set boundaries on behavior. He believes that humans are now adult enough to let go of religion, embrace scientific explanations, and let their own inner moral sense guide them. He acknowledges the influence of both Muslim and Christian thought on his own writing and worldview but points out that this is not the same thing as being a believer. His atheism is a core part of his identity and will never change.
Another of Rushdie’s preoccupations during this period was the idea of attending the court proceedings against his attacker. He wanted to look the man in the face and speak directly to him, and he thought he might get the opportunity to do so when he testified at the man’s trial. However, it looked like the A. might change his plea to “guilty” and accept a plea bargain. Lawyers assured Rushdie that the sentence, even in this case, would be lengthy enough that the man would never be free during Rushdie’s lifetime. The process, in any case, could take many months.
At the 2023 PEN Gala, Rushdie received the PEN America Centenary Courage Award. He recalled that in 2015, when the award was offered posthumously to the murdered Charlie Hebdo journalists, many people objected because the magazine had published satire of Islam—though they seemed unbothered by its satire of Christianity and Judaism. Rushdie had defended Charlie Hebdo and lost several long-standing friendships with people on the other side of the debate. Nevertheless, the 2023 Gala was a joyful event for Rushdie. He used his speech to thank the people who had saved his life and to renew his call for free speech even in the face of threats of violence.
During the summer of 2023, Rushdie’s anger toward his attacker began to fade, and his desire to confront his attacker faded along with it. The passage of time, therapy, and writing Knife all helped him move on. The more Rushdie reengaged with ordinary life, the less he wanted to revisit the attack by testifying in court. He imagined that if he had to testify, he would tell the A. that after the brief moment in which their lives touched, the attacker’s life disintegrated while Rushdie’s only improved. The world now knows the attacker’s true nature, and during his long incarceration he too may come to understand it—but Rushdie does not care either way. Rushdie cares about his work and his relationships, not about the attacker or his ideology.
He still had not come to terms with the loss of vision in his right eye. He thought of other stories about blindness and resented those in which blindness is reversed. He searched these stories for some consolation but found none in fiction. In the end, the true story of cricket player Mansoor Ali Khan inspired Rushdie. Khan lost vision in one eye shortly before his international cricket career began yet continued and became one of the most famous players in the game’s history.
When Rushdie considers how he has changed since the attack, he admits that before the attack he would never have named a figure from sports as one of his heroes. It is important to him, however, that nothing change in his work as a result of the attack. He felt similarly after the furor over The Satanic Verses; he refused to let the death edit impact his writing, because this would make him “no more than a creature of the fatwa” (199). He hopes that those who read his work in the future will not detect a divide between Victory City and later novels, sure that something momentous happened to Rushdie between these works. He realizes, though, that the attack will most likely impact how others read his work in the future, and he can do nothing about this, just as he can do nothing about the various personas the media has invented for him over the years. He can only hope that people continue to read his work and do not assume that those personas and the controversy around Rushdie tell them all they need to know.
After the Charlie Hebdo murders, Rushdie offered public support for the magazine and remarked that religion is “an ancient form of unreason” that, combined with modern weaponry, has become “a real threat to our freedoms” (201). He decried the impact of fundamentalism on Islam and noted that people calling for respect of religion were really just afraid of the religious, adding that religions should be as freely criticized and disrespected as any other idea or institution. What enabled his own attacker, Rushdie asserts, was not modern weaponry but the modern technology of the internet.
In September 2023, Rushdie returned to Chautauqua, this time with Eliza. Before the trip, he had no idea how he would react to being back at the scene of the attack, but he felt that he needed to go there to prove to himself that he really had survived—both physically and psychologically. He worried that the trip might only make him miss even more the person he was before the attack or bring up overwhelming emotions. In addition, Rushdie wanted to stand in front of the jail where the A. was being held. When he did so, he felt a strange joy that almost made him want to dance. On the stage at Chautauqua, Rushdie explained to Eliza exactly what had happened; she found it difficult to hear but was relieved to know the specifics instead of just repeatedly imagining them. Both Rushdie and Eliza were emotional, but he was grateful for her presence. Eventually, he realized that he felt at peace, as if a burden had been lifted. He was relieved that his and Eliza’s love had endured through the trauma of violence. Even though their love was not as innocent and carefree as it once was, it was enough.
Rushdie’s purpose in Chapter 7, “Second Chance,” and Chapter 8, “Closure,” is not so much to convey a strict chronology of events in the months after the attack as it is to convey two new ideas: “Second Chance” explains how the attack shifted his perspective to a focus on the present and a determination to devote his time to his work and relationships. “Closure” demonstrates how completely he has moved on from the events of August 12, 2022. As he explores these ideas in the book’s final two chapters, Rushdie returns to several previous motifs and shows their relationship to these two central ideas.
In “Second Chance,” Rushdie thematically revisits The Devastating Impact of Violence when he again discusses the attack’s psychological impact on both himself and Eliza and his fears of the attack pulling him back into the post-fatwa era. He thematically reiterates The Importance of Free Speech, the function of Knife as way to take control of his own story, and his disappointment in others who do not believe in free speech the way he does. He expresses gratitude for the support he received during and after the attack and the importance of romantic and familial relationships, thematically demonstrating The Power of Love. He returns to the subject of his own atheism and thematically explores The Role of Religion for what he states will be the final time. Although all these ideas are familiar from earlier chapters, Rushdie uses them here to show how grateful he is to have survived a devastating attack, how this gratitude led him to reevaluate his priorities, and why he concluded that his focus going forward will not be distant, long-range plans. It will be an ever-unfolding present filled with love and work—specifically, work that uses free speech to advocate for a better world without wasting time trying to justify his religious beliefs.
“Closure” centers on the idea that Rushdie has successfully moved on from the attack. He is no longer invested in confronting his attacker and thus wasting time he could focus on work and relationships. He mentions the difficulty of accepting the loss of vision in his eye and then describes taking inspiration from Mansoor Ali Khan’s story to move past the injury that most troubled him. In returning to Chautauqua with Eliza, he demonstrated to himself how far he had come, how able he was to turn the page and put the attack in the past, tying together and resolve two of the book’s themes by demonstrating how The Power of Love can overcome The Devastating Impact of Violence. As he builds a case for this central idea, he reintroduces the Charlie Hebdo attacks as part of his thematic arguments about The Importance of Free Speech and The Role of Religion and to illustrate what is important to him about his work. Reinforcing the significance of his work is the reiteration of his point about not wanting his writing to be defined by either the death edict or Matar’s attack.
Knife itself functions as a kind of dividing line in Rushdie’s life and work. Like a metaphorical knife, the book severs the past from the future. After the events of August 12, 2022, Rushdie became preoccupied with the attack and his attacker and with public criticism of his stance on religion. In “Second Chance,” he explains his determination to move past these preoccupations and his belief that he can use his memoir as an instrument in that cause. In “Closure,” he makes the case that Knife has worked in exactly this way: Rushdie is a new man, released from the demons of the past and looking forward to beginning his next novel and enjoying a life filled with love.
By Salman Rushdie
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