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HAROUN AND THE SEA OF STORIES PDF

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'A lively, wonderfully inventive comic tale his own Sea of Stories from which . Haroun often thought of his father as a Juggler, because his stories were really. 6. The river comes from the mountain Rashid: Correct! Haroun: The rain comes from the sky Rashid: Spot on! And the stories come from the Great Story Sea. The author of The Satanic Verses returns with his most humorous and accessible novel yet. This is the story of Haroun, a year-old boy whose father Rashid is the greatest storyteller in a city so sad that it has forgotten its name. When the gift of gab suddenly deserts Rashid.


Haroun And The Sea Of Stories Pdf

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Haroun and the Sea of Stories, (50). Qft September , Salman Rushdie, under a death sentence by Iran (origi- nally proclaimed by Ayatollah Ali Khomeini . Haroun and the Sea of Stories as a Modern Literary Fairy Tale. Rosalıa Baena. University of Navarre, Pamplona Spain. ''There was once, in the country of Alifay, . Salman Rushdie's Haroun and the Sea of Stories (), his first post-fatwa novel and generally known as his 'most humorous and accessible' work.

Haroun thinks of his father as a juggler of stories. Haroun, however, wants to know where all these fantastic stories come from, but whenever he asks his father about it, Rashid replies with a straight face that they come from the warm waters of the Story Sea, piped into the house through an invisible tap installed by a Water Genie.

This answer irritates Haroun, as he's never seen a Water Genie. When he tells Rashid this, Rashid replies that Haroun must stop "Iffing and Butting" and enjoy the stories.

Haroun both admires his father's stories and is exasperated by them, as what he really wants in this situation is concrete answers rather than fantasy. The "Iff and Butt" motif, as well as the rest of Rashid's story, will reappear later, as all of what happens in Haroun's life in Alfibay provides the inspiration for the dream journey he'll take later.

The Khalifas live in a downstairs apartment of a house that is colored like a cake, and they are solidly middle class.

People in the sad city mostly have big families, but Haroun is an only child, and wants to know why. Rashid tells Haroun, "there's more to you, young Haroun Khalifa, than meets the blinking eye," which Haroun takes as no real answer. Soraya answers that they tried to have more children but were unable to, and tells Haroun to think of the poor childless Sengupta family that lives upstairs.

Rashid's statement that there's more to Haroun than meets the eye leads the reader as well as Haroun to file this away as something important for later. In the discussion of the Senguptas, the reader is asked to consider two very opposite people in Mr.

Sengupta and Rashid, as well as wonder what might be a happy medium between the two. From the very beginning, Mr. Sengupta is set up as an unlikeable character to watch out for going forward. Sengupta always talks to Soraya when Rashid isn't around, criticizing Rashid and his stories, insisting that there's no use in stories that aren't true. Haroun , eavesdropping from outside, decides that he doesn't like Mr.

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Sengupta, but he can't get the question "what's the use of stories that aren't even true? This question of the use of stories can be considered the thesis of the novel.

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Here, it's used to discredit and cast aspersions at Rashid and his profession, offering for consideration the possibility that stories aren't useful. Related Quotes with Explanations. Download it! In spite of Mr. Sengupta 's disdain for stories, Rashid is in high demand with politicos politicians running for office, as it's an election year in Alfibay.

Everyone has complete faith in Rashid because he's upfront that his stories are totally made up, but nobody believes the politicos, meaning that they need Rashid's help to win over the voters. Rashid can pick and choose which candidate he'd like to support, as they all want him to tell their stories. Here we see that regardless of Mr.

Sengupta's feelings, there are people out there who understand the power of stories and are willing to pay for them. This idea links stories with power, as Rashid essentially has the power to make an election swing in whichever way he chooses. On the day everything went wrong, it was the first day of the rainy season in the sad city, and Haroun took his time walking home from school to play in the downpour.

Upon arriving at his house, he sees Miss Oneeta standing and shaking on her balcony, although he can't tell she's crying because of the rain.

When he enters his house, Rashid is crying too. Sengupta at precisely She sent Rashid on a mission to Haroun's bedroom and while Rashid was occupied, sped away in a taxi. Rashid, noticing that the clock still stood at Upon finding out about his mother's departure, Haroun's first words were to ask his father why he'd smashed Haroun's clock. The idea of time, specifically stopping it, becomes a way to explore balance.

However, though Rushdie proposes that even a Parliament entitled Chatterbox where decisions are postponed for years, and rulers like the idiot Prince Bolo and the brainless Blatcheat who also does her share of irresponsible corruption and pollution by altering the stories written on the bodies of the Pages so that her beloved can be a hero in all of them are preferable to any type of tyranny, he adopts a deconstructionist position by dismantling the dichotomy between silence and speech.

Gup is warm and Chup is freezing cold. Gup is all chattering and noise, whereas Chup is silent as shadow.

Guppees love the Ocean, Chupwalas try to poison it. It was a war between Love [ Opposites attract, as they say.

Rushdie, who had been separated from his son with the declaration of the fatwa, dedicates Haroun and the Sea of Stories to Zafar in an acrostic but one senses Rushdie reaching for others as well: Z embla, Zenda, Xanadu: A ll our dream-worlds may come true.

F airy lands are fearsome too. A s I wander far from view R ead, and bring me home to you Notwithstanding the identified reader being his son, even in these lines Rushdie is making references to his political situation: the repression of freedom of speech in Iran and similarly oriented countries, his hiding, and his desire that, in spite of it all, that his words still reach his public.

With his magic touch Salman Rushdie has once again created a book which can be read at different levels of meaning: as a fable, as fantasy, adventure, allegory or an autobiographical novel.

The intertexts have been pinpointed with scrupulous detail in several articles. Nevertheless Salman Rushdie rejects the term postmodernist for he feels it to be a scholarly term and prefers instead to see the so-called postmodernist elements arising from the influence of ancient sources had on him. In an interview with Akbar Ahmed, he comments: To my mind the Arabian Nights was the book which showed me more about writing than anything else.

Ahmed, [] A chief reference has to be the collection The Ocean of the Streams of Story itself, known as the Kathasaritsagara, dating back to the eleventh century. It is actually mentioned in Haroun, as Snooty Booty has an edition of the tales in his houseboat which is purposefully named Arabian Nights.

Another significant reference is the twelfth century Sufi poem The Conference of the Birds, a fabulist narrative where all characters are birds led on a pilgrimage by a hoopoe. Salman Rushdie puts an emphasis on the influence of traditional tales and oral narrative referred to as Old Zone in Haroun both admittedly in interviews and metafictionally. The treatment given to characters reflects this influence through caricature Khatttam-Shud, Snooty Booty and literary intertextuality Haroun and Rashid are the de-fragmented names of Haroun al-Rashid, a Caliph in The Arabian Nights which includes the Panchatantra.

But characters are also of a more fantastical nature more akin to the fable, though they are not ordinary animals speaking of humanity; Butt the Hoopoe, a mythic figure, here is a mechanical creature; Iff is a Water Genie, thus a being drawn from the rich Indian tradition of storytelling; Mali, Goopy and Bagha are wholly chimerical creatures, the former a type of weed with vegetable tentacles and lilac-mouthed and the Plentimaws were triangular sea-monsters with plenty of mouths to suck in and blow out stories.

There is also the army of Pages and General Kitab, their commander, is a book.

Haroun and the sea of stories

Finally, there were the Eggheads whose shaved heads gave them a humanoid appearance. Meaningfully yet, it also represents the encounter of the city with its own identity, and Rashid with himself as his talents are recovered and used to instigate voters to act according to their consciousnesses and thus to make full use of their right to freedom of expression.

You have politicians or the media or whoever, the people who form opinion, who are, in fact, making the fictions. Michael R.

Reder Conversations with Salman Rushdie. Jackson: University Press of Mississippi, Philadelphia: University of Pennsylvania Press. Amsterdam and Atlanta: Rodopi, Novelists in Interview.

London: Methuen. Postmodernist Fiction.

Haroun and the Sea of Stories

London and New York: Routledge. Epic Fantasy. Hardcover —. Buy the Hardcover: Add to Cart Add to Cart. About Haroun and the Sea of Stories It all begins with a letter. Also in Penguin Drop Caps. Also by Salman Rushdie. See all books by Salman Rushdie.

Product Details. Inspired by Your Browsing History. Related Articles. Looking for More Great Reads? Download our Spring Fiction Sampler Now.LitCharts Teacher Editions. Upon finding out about his mother's departure, Haroun's first words were to ask his father why he'd smashed Haroun's clock.

In the sense that it has re-invented itself as the aforementioned examples illustrate , the fable has undergone a process quite similar to the fairy tale. Add to Cart Add to Cart. Because he shares with Mr. But the most daring, scatological and even blasphemous example is probably by the American Robert Coover, who in Pinocchio in Venice turns Alidoro and particularly Melampetta into dogs whose foul language is taken to new creative limits.

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