ABSTRACT
In Salman Rushdie’s novels, images are invested with the power to manipulate the plotline, to stipulate actions from the characters, to have sway over them, seduce them, or even lead them astray. Salman Rushdie and Visual Culture sheds light on this largely unremarked – even if central – dimension of the work of a major contemporary writer. This collection brings together, for the first time and into a coherent whole, research on the extensive interplay between the visible and the readable in Rushdie’s fiction, from one of the earliest novels – Midnight’s Children (1981) – to his latest – The Enchantress of Florence (2008).
TABLE OF CONTENTS
chapter 3|18 pages
Beyond the Visible
Secularism and Postcolonial Modernity in Salman Rushdie's The Moor's Last Sigh, Jamelie Hassan's Trilogy, and Anish Kapoor's Blood Relations
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chapter 4|20 pages
Living Art
Artistic and Intertextual Re-envisionings of the Urban Trope in The Moor's Last Sigh
chapter 8|16 pages
“Nobody from Bombay should be without a basic film vocabulary”
Midnight's Children and the Visual Culture of Indian Popular Cinema
chapter 9|19 pages
Visual Technologies in Rushdie's Fiction
Envisioning the Present in the ‘Imagological Age'
chapter 10|24 pages
Bombay/‘Wombay'
Refracting the Postcolonial Cityscape in The Ground Beneath Her Feet
