Publisher Description

NATIONAL BESTSELLER • The Booker Prize-winning, bestselling author of Midnight's Children and The Satanic Verses combines a ferociously witty family saga with a surreally imagined and sometimes blasphemous chronicle of modern India and flavors the mixture with peppery soliloquies on art, ethnicity, religious fanaticism, and the terrifying power of love.

"Fierce, phantasmagorical … a huge, sprawling, exuberant novel." —The New York Times

Moraes "Moor" Zogoiby, the last surviving scion of a dynasty of Cochinese spice merchants and crime lords, is also a compulsive storyteller and an exile. As he travels a route that takes him from India to Spain, he leaves behind a tale of mad passions and volcanic family hatreds, of titanic matriarchs and their mesmerized offspring, of premature deaths and curses that strike beyond the grave.

Author Biography

Salman Rushdie is the author of nine books, including Shame, Midnight's Children, East, West, and The Satanic Verses. In 1993 Midnight's Children was adjudged The Booker of Bookers.

Review

TIME Magazine's Best Book of the Year

"Fierce, phantasmagorical…a huge, sprawling, exuberant novel." --The New York Times

"Salman Rushdie's greatest novel…held me is its thrall and provided the richest fictional experience of 1995." --The Sunday Times

"A rich, wonderfully readable novel." --Toronto Star

"The most complete and gratifying work to emerge from Salman Rushdie's imagination…. The Moor's Last Sigh is an exotic story, in its setting, in its characters, in its punning extravagance, and in its deeply human core. It is an extraordinary family saga…full of wonderful characters, and the insight born of genuine reflection…A remarkable spell of creativity." --The Edmonton Journal

"Rushdie, the author of nine previous books—including The Satanic Verses, which prompted Ayatollah Khomeini to issue his death sentence in 1989—alludes often to his own exile, the story of modern India and the dangers of art. At first the hyperbole, didactic asides, verbal puns, lyrical and lewd jokes, and slapstick routines seem a bit much, but if you stick with it, a cumulative magic takes hold. Rushdie's satiric, hysterically funny, political family tragedy is a masterpiece." --Salon

Review Quote

TIME Magazine's Best Book of the Year "Fierce, phantasmagorical...a huge, sprawling, exuberant novel." The New York Times "Rushdie, the author of nine previous books -- including The Satanic Verses , which prompted Ayatollah Khomeini to issue his death sentence in 1989 -- alludes often to his own exile, the story of modern India and the dangers of art. At first the hyperbole, didactic asides, verbal puns, lyrical and lewd jokes, and slapstick routines seem a bit much, but if you stick with it, a cumulative magic takes hold. Rushdie's satiric, hysterically funny, political family tragedy is a masterpiece." Salon "Salman Rushdie's greatest novel...held me is its thrall and provided the richest fictional experience of 1995." The Sunday Times "The most complete and gratifying work to emerge from Salman Rushdie's imagination.... The Moor's Last Sigh is an exotic story, in its setting, in its characters, in its punning extravagance, and in its deeply human core. It is an extraordinary family saga...full of wonderful characters, and the insight born of genuine reflection...A remarkable spell of creativity." The Edmonton Journal "A rich, wonderfully readable novel." Toronto Star

Description for Reading Group Guide

The questions, discussion topics, and author biography that follow are intended to enhance your group's reading of Salman Rushdie's The Moor's Last Sigh. We hope they will introduce a number of new angles from which to examine Rushdie's fabulous and philosophic vision of his native India, a panorama condensed within the story of one family and its last surviving member, Moraes Zogoiby, known as "the Moor."

Discussion Question for Reading Group Guide

1. Why does Rushdie use the device of a "double-quick" [p. 143] life for the Moor? What does the idea of such speed add to the novel? What is the significance of the Moor''s deformed right hand to his character and function within the story? 2. Rushdie has stated that the idea of a portrait of a mother painted over because the father did not like it--the "lost image"--was the original inspiration for this novel. The image of the "palimpsest," a painting over which a second work has been superimposed, is central to The Moor''s Last Sigh. How does the palimpsest become a metaphor for other of the novel''s themes, i.e., love, God, the cultures of India? 3. Would you call Aurora a "good" mother? How directly is she responsible for the tragic lives of Ina, Minnie, Mynah, and the Moor? Why did Vasco Miranda paint Aurora without her children, and how does that image correspond with the picture of India painted by Rushdie? 4. Aurora''s role as a mother is clearly central, but what about her role as wife and lover? What strategies does she use to deal with the men in her life, in particular Abraham, Vasco, and Raman Fielding? What do the notions of love, fidelity, and infidelity mean to her? 5. "Motherness--excuse me if I underline the point--is a big idea in India, maybe our biggest: the land as mother, the mother as land, as the firm ground beneath our feet" [p. 137]. In India, the mother is traditionally associated with the idea of the nation. How does Rushdie use the mythology of the mother goddess to depict his country? How did Indira Gandhi use it to propagandize her own national role, and what do you infer Rushdie''s opinion of such mythmaking to be? How is Aurora made to represent the Indian nation itself in its maternal role? 6. What do the key historical events referred to by the narrator--the Spanish reconquista of Granada and the expulsion of the Moors, the founding of the spice trade between Europe and India, Portuguese colonial expansion, political events of twentieth-century India--have to do with the story of the Zogoiby and da Gama families? How do these references contribute to the story''s impact? 7. "The family in the novel reflects a truth about Bombay society in the past thirty or so years," Rushdie has said. "Which is that the rich have got very much richer and the poor very much poorer." How is this economic disparity dealt with in the novel? How do the changing fortunes of the da Gama-Zogoiby clan reflect the economic condition of India? Can you find parallels with the changes that have taken place in American society over the past twenty years? 8. Do you think that Rushdie''s elegiac representation of Bombay owes something to his exile from his native city? Where else in the novel does the theme of exile arise? Which characters might be considered, at one time or another, exiles? 9. How does Rushdie depict Hinduism? How does Raman Fielding''s Mumbai Axis distort the tenets of Hinduism [pp. 296-301], and to what purpose? Is his political/cultural agenda pure fascism, and how closely does it resemble the most famous fascist regime of the century, Adolf Hitler''s? Are the Moor''s reasons for joining Fielding convincing to you? Does Rushdie imply that religious fundamentalism is essentially inimical to democracy? Do you believe that Rushdie implies a link between religion and madness? Between religion and disease? 10. Rushdie has given his characters names that are resonant within Portuguese, Spanish, Jewish, and Indian culture: Abraham, Carmen, Camoens, da Gama, Prince Henry the Navigator, Isabella, Vasco, Adam Braganza, Castile, etc. What significance does each name carry within the narrative and within the thematic structure Rushdie has given his novel? 11. Over and over Rushdie stresses, through his narrator the Moor, the beauty of plurality. Speaking of his family''s history, the Moor asks, "Christians, Portuguese and Jews; Chinese tiles promoting godless views; pushy ladies, skirts-not-saris, Spanish shenanigans, Moorish crowns

Excerpt from Book

ONE I have lost count of the days that have passed since I fled the horrors of Vasco Miranda''s mad fortress in the Andalusian mountain-village of Benengeli; ran from death under cover of darkness and left a message nailed to the door. And since then along my hungry, heat-hazed way there have been further bunches of scribbled sheets, swings of the hammer, sharp exclamations of two-inch nails. Long ago when I was green my beloved said to me in fondness, ''Oh, you Moor, you strange black man, always so full of theses, never a church door to nail them to.'' (She, a self-professedly godly un-Christian Indian, joked about Luther''s protest at Wittenberg to tease her determinedly ungodly Indian Christian lover: how stories travel, what mouths they end up in!) Unfortunately, my mother overheard; and darted, quick as snakebite: ''So full, you mean, of faeces.'' Yes, mother, you had the last word on that subject, too: as about everything. ''Amrika'' and ''Moskva'', somebody once called them, Aurora my mother and Uma my love, nicknaming them for the two great super-powers; and people said they looked alike but I never saw it, couldn''t see it at all. Both of them dead, of unnatural causes, and I in a far-off country with death at my heels and their story in my hand, a story I''ve been crucifying upon a gate, a fence, an olive-tree, spreading it across this landscape of my last journey, the story which points to me. On the run, I have turned the world into my pirate map, complete with clues, leading X-marks-the-spottily to the treasure of myself. When my pursuers have followed the trail they''ll find me waiting, uncomplaining, out of breath, ready. Here I stand. Couldn''t''ve done it differently. (Here I sit, is more like it. In this dark wood-that is, upon this mount of olives, within this clump of trees, observed by the quizzically tilting stone crosses of a small, overgrown graveyard, and a little down the track from the ?ltimo Suspiro gas station-without benefit or need of Virgils, in what ought to be the middle pathway of my life, but has become, for complicated reasons, the end of the road, I bloody well collapse with exhaustion.) And yes, ladies, much is being nailed down. Colours, for example, to the mast. But after a not-so-long (though gaudily colourful) life I am fresh out of theses. Life itself being crucifixion enough. When you''re running out of steam, when the puff that blows you onward is almost gone, it''s time to make confession. Call it testament or (what you) will; life''s Last Gasp Saloon. Hence this here-I-stand-or-sit with my life''s sentences nailed to the landscape and the keys to a red fort in my pocket, these moments of waiting before a final surrender. Now, therefore, it is meet to sing of endings; of what was, and may be no longer; of what was right in it, and wrong. A last sigh for a lost world, a tear for its passing. Also, however, a last hurrah, a final, scandalous skein of shaggy-dog yarns (words must suffice, video facility being unavailable) and a set of rowdy tunes for the wake. A Moor''s tale, complete with sound and fury. You want? Well, even if you don''t. And to begin with, pass the pepper. -What''s that you say?- The trees themselves are surprised into speech. (And have you never, in solitude and despair, talked to the walls, to your idiot pooch, to empty air?) I repeat: the pepper, if you please; for if it had not been for peppercorns, then what is ending now in East and West might never have begun. Pepper it was that brought Vasco da Gama''s tall ships across the ocean, from Lisbon''s Tower of Bel'm to the Malabar Coast: first to Calicut and later, for its lagoony harbour, to Cochin. English and French sailed in the wake of that first-arrived Portugee, so that in the period called Discovery-of-India-but how could we be discovered when we were not covered before?-we were ''not so much sub-continent as sub-condiment'', as my distinguished mother had it. ''From the beginning, what the world wanted from bloody mother India was daylight-clear,'' she''d say. ''They came for the hot stuff, just like any man calling on a tart.'' Mine is the story of the fall from grace of a high-born cross-breed: me, Moraes Zogoiby, called ''Moor'', for most of my life the only male heir to the spice-trade-''n''-big-business crores of the da Gama-Zogoiby dynasty of Cochin, and of my banishment from what I had every right to think of as my natural life by my mother Aurora, n'e da Gama, most illustrious of our modern artists, a great beauty who was also the most sharp-tongued woman of her generation, handing out the hot stuff to anybody who came within range. Her children were shown no mercy. ''Us rosary-crucifixion beatnik chicks, we have red chillies in our veins,'' she would say. ''No special privileges for flesh-and-blood relations! Darlings, we munch on flesh, and blood is our tipple of choice.'' ''To be the offspring of our daemonic Aurora,'' I was told when young by the Goan painter V. (for Vasco )Miranda, ''is to be, truly, a modern Lucifer. You know: son of the blooming morning.'' By then my family had moved to Bombay, and this was the kind of thing that passed, in the Paradise of Aurora Zogoiby''s legendary salon, for a compliment; but I remember it as a prophecy, because the day came when I was indeed hurled from that fabulous garden, and plunged towards Pandaemonium. (Banished from the natural, what choice did I have but to embrace its opposite? Which is to say, unnaturalism, the only real ism of these back-to-front and jabber-wocky days. Placed beyond the Pale, would you not seek to make light of the Dark? Just so. Moraes Zogoiby, expelled from his story, tumbled towards history.) -And all this from a pepperpot!- Not only pepper, but also cardamoms, cashews, cinnamon, ginger, pistachios, cloves; and as well as spice''n''nuts there were coffee beans, and the mighty tea leaf itself. But the fact remains that, in Aurora''s words, ''it was pepper first and onemost-yes, yes, onemost, because why say foremost? Why come forth if you can come first?'' What was true of history in general was true of our family''s fortunes in particular-pepper, the coveted Black Gold of Malabar, was the original stock-in-trade of my filthy-rich folks, the wealthiest spice, nut, bean and leaf merchants in Cochin, who without any evidence save centuries of tradition claimed wrong-side-of-the-blanket descent from great Vasco da Gama himself . . . No secrets any more. I''ve already nailed them up. TWO At the age of thirteen my mother Aurora da Gama took to wandering barefoot around her grandparents'' large, odorous house on Cabral Island during the bouts of sleeplessness which became, for a time, her nightly affliction, and on these nocturnal odysseys she would invariably throw open all the windows-first the inner screen-windows whose fine-meshed netting protected the house from midges mosquitoes flies, next the leaded-glass casements themselves, and finally the slatted wooden shutters beyond. Consequently, the sixty-year-old matriarch Epifania-whose personal mosquito-net had over the years developed a number of small but significant holes which she was too myopic or stingy to notice-would be awakened each morning by itching bites on her bony blue forearms and would then unleash a thin shriek at the sight of flies buzzing around the tray of bed-tea and sweet biscuits placed beside her by Tereza, the maid (who swiftly fled). Epifania fell into a useless frenzy of scratching and swatting, lunging around her curvaceous teak boat-bed, often spilling tea on the lacy cotton bedclothes, or on her white muslin nightgown with the high ruffled collar that concealed her once swan-like, but now corrugated, neck. And as the fly-swatter in her right hand thwacked and thumped, as the long nails on her left hand raked her back in search of ever more elusive mosquito-bites, so Epifania da Gama''s nightcap would slip from her head, revealing a mess of snaky white hair through which mottled patches of scalp could (alas!) all too easily be glimpsed. When young Aurora, listening at the door, judged that the sounds of her hated grandmother''s fury (oaths, breaking china, the impotent slaps of the swatter, the scornful buzzing of insects) were nearing peak volume, she would put on her sweetest smile and breeze into the matriarch''s presence with a gay morning greeting, knowing that the mother of all the da Gamas of Cochin would be pushed right over the edge of her wild anger by the arrival of this youthful witness to her antique helplessness. Epifania, hair a-straggle, kneeling on stained sheets, upraised swatter flapping like a broken wand, and seeking a release for her rage, howled like a weird sister, rakshasa or banshee at intruding Aurora, to the youngster''s secret delight. ''Oho-ho, girl, what a shock you gave, one day you will killofy my heart.'' So it was that Aurora da Gama got the idea of murdering her grandmother from the lips of the intended victim herself. After that she began making plans, but these increasingly macabre fantasies of poisons and cliff-edges were invariably scuppered by pragmatic problems, such as the difficulty of getting hold of a cobra and inserting it between Epifania''s bedsheets, or the flat refusal of the old harridan to walk on any terrain that, as she put it, ''tiltoed up or down''. And although Aurora knew very well where to lay her hands on a good sharp kitchen knife, and was certain that her strength was already great enough to choke the life out of Epifania, she nevertheless ruled out these options, too, because she had no intention of being found out, and too obvious an assault might lead to the asking of uncomfortable questions. The perfect crime having failed to make

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