The Satanic Verses



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Salman Rushdie
The Satanic Verses

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I. The Angel Gibreel

1
"To be born again," sang Gibreel Farishta tumbling from the heavens,

"first you have to die. Hoji! Hoji! To land upon the bosomy earth, first

one needs to fly. Tat-taa! Taka-thun! How to ever smile again, if first

you won't cry? How to win the darling's love, mister, without a sigh?

Baba, if you want to get born again . . ." Just before dawn one winter's

morning, New Year's Day or thereabouts, two real, full-grown, living

men fell from a great height, twenty-nine thousand and two feet,

towards the English Channel, without benefit of parachutes or wings,

out of a clear sky.


"I tell you, you must die, I tell you, I tell you," and thusly and so

beneath a moon of alabaster until a loud cry crossed the night, "To the

devil with your tunes," the words hanging crystalline in the iced white

night, "in the movies you only mimed to playback singers, so spare me

these infernal noises now."
Gibreel, the tuneless soloist, had been cavorting in moonlight as he

sang his impromptu gazal, swimming in air, butterfly-stroke, breast-

stroke, bunching himself into a ball, spreadeagling himself against the

almost-infinity of the almost-dawn, adopting heraldic postures,

rampant, couchant, pitting levity against gravity. Now he rolled happily

towards the sardonic voice. "Ohe, Salad baba, it's you, too good. What-

ho, old Chumch." At which the other, a fastidious shadow falling

headfirst in a grey suit with all the jacket buttons done up, arms by his

sides, taking for granted the improbability of the bowler hat on his

head, pulled a nickname-hater's face. "Hey, Spoono," Gibreel yelled,


eliciting a second inverted wince, "Proper London, bhai! Here we come!

Those bastards down there won't know what hit them. Meteor or

lightning or vengeance of God. Out of thin air, baby.

_Dharrraaammm!_ Wham, na? What an entrance, yaar. I swear: splat."
Out of thin air: a big bang, followed by falling stars. A universal

beginning, a miniature echo of the birth of time . . . the jumbo jet

_Bostan_, Flight AI-420, blew apart without any warning, high above

the great, rotting, beautiful, snow-white, illuminated city, Mahagonny,

Babylon, Alphaville. But Gibreel has already named it, I mustn't

interfere: Proper London, capital of Vilayet, winked blinked nodded in

the night. While at Himalayan height a brief and premature sun burst

into the powdery January air, a blip vanished from radar screens, and

the thin air was full of bodies, descending from the Everest of the

catastrophe to the milky paleness of the sea.


Who am I?
Who else is there?
The aircraft cracked in half, a seed-pod giving up its spores, an egg

yielding its mystery. Two actors, prancing Gibreel and buttony, pursed

Mr. Saladin Chamcha, fell like titbits of tobacco from a broken old

cigar. Above, behind, below them in the void there hung reclining seats,

stereophonic headsets, drinks trolleys, motion discomfort receptacles,

disembarkation cards, duty-free video games, braided caps, paper cups,

blankets, oxygen masks. Also -- for there had been more than a few

migrants aboard, yes, quite a quantity of wives who had been grilled by

reasonable, doing-their-job officials about the length of and

distinguishing moles upon their husbands' genitalia, a sufficiency of

children upon whose legitimacy the British Government had cast its

ever reasonable doubts -- mingling with the remnants of the plane,

equally fragmented, equally absurd, there floated the debris of the soul,

broken memories, sloughed-off selves, severed mother tongues, violated


privacies, untranslatable jokes, extinguished futures, lost loves, the

forgotten meaning of hollow, booming words, _land_, _belonging_,

_home_. Knocked a little silly by the blast, Gibreel and Saladin

plummeted like bundles dropped by some carelessly open-beaked stork,

and because Chamcha was going down head first, in the recommended

position for babies entering the birth canal, he commenced to feel a low

irritation at the other's refusal to fall in plain fashion. Saladin

nosedived while Farishta embraced air, hugging it with his arms and

legs, a flailing, overwrought actor without techniques of restraint.

Below, cloud-covered, awaiting their entrance, the slow congealed

currents of the English Sleeve, the appointed zone of their watery

reincarnation.
"O, my shoes are Japanese," Gibreel sang, translating the old song into

English in semi-conscious deference to the uprushing host-nation,

"These trousers English, if you please. On my head, red Russian hat; my

heart's Indian for all that." The clouds were bubbling up towards them,

and perhaps it was on account of that great mystification of cumulus

and cumulo-nimbus, the mighty rolling thunderheads standing like

hammers in the dawn, or perhaps it was the singing (the one busy

performing, the other booing the performance), or their blast--delirium

that spared them full foreknowledge of the imminent . . . but for

whatever reason, the two men, Gibreelsaladin Farishtachamcha,

condemned to this endless but also ending angelic devilish fall, did not

become aware of the moment at which the processes of their

transmutation began.
Mutation?
Yessir, but not random. Up there in air-space, in that soft,

imperceptible field which had been made possible by the century and

which, thereafter, made the century possible, becoming one of its

defining locations, the place of movement and of war, the planet-

shrinker and power-vacuum, most insecure and transitory of zones,

illusory, discontinuous, metamorphic, -- because when you throw

everything up in the air anything becomes possible - way up there, at

any rate, changes took place in delirious actors that would have

gladdened the heart of old Mr. Lamarck: under extreme environmental

pressure, characteristics were acquired.


What characteristics which? Slow down; you think Creation happens in

a rush? So then, neither does revelation . . . take a look at the pair of

them. Notice anything unusual? Just two brown men, falling hard,

nothing so new about that, you may think; climbed too high, got above

themselves, flew too close to the sun, is that it?
That's not it. Listen:
Mr. Saladin Chamcha, appalled by the noises emanating from Gibreel

Farishta's mouth, fought back with verses of his own. What Farishta

heard wafting across the improbable night sky was an old song, too,

lyrics by Mr. James Thomson, seventeen hundred to seventeen-forty-

eight. ". . . at Heaven's command," Chamcha carolled through lips

turned jingoistically red white blue by the cold, "arooooose from out

the aaaazure main." Farishta, horrified, sang louder and louder of

Japanese shoes, Russian hats, inviolately subcontinental hearts, but

could not still Saladin's wild recital: "And guardian aaaaangels sung

the strain."


Let's face it: it was impossible for them to have heard one another,

much less conversed and also competed thus in song. Accelerating

towards the planet, atmosphere roaring around them, how could they?

But let's face this, too: they did.


Down down they hurtled, and the winter cold frosting their eyelashes

and threatening to freeze their hearts was on the point of waking them

from their delirious daydream, they were about to become aware of the

miracle of the singing, the rain of limbs and babies of which they were a


part, and the terror of the destiny rushing at them from below, when

they hit, were drenched and instantly iced by, the degree-zero boiling of

the clouds.


They were in what appeared to be a long, vertical tunnel. Chamcha,

prim, rigid, and still upside-down, saw Gibreel Farishta in his purple

bush-shirt come swimming towards him across that cloud-walled

funnel, and would have shouted, "Keep away, get away from me," except

that something prevented him, the beginning of a little fluttery screamy

thing in his intestines, so instead of uttering words of rejection he

opened his arms and Farishta swam into them until they were

embracing head-to-tail, and the force of their collision sent them

tumbling end over end, performing their geminate cartwheels all the

way down and along the hole that went to Wonderland; while pushing

their way out of the white came a succession of cloudforms, ceaselessly

metamorphosing, gods into bulls, women into spiders, men into wolves.

Hybrid cloud-creatures pressed in upon them, gigantic flowers with

human breasts dangling from fleshy stalks, winged cats, centaurs, and

Chamcha in his semi-consciousness was seized by the notion that he,

too, had acquired the quality of cloudiness, becoming metamorphic,

hybrid, as if he were growing into the person whose head nestled now

between his legs and whose legs were wrapped around his long,

patrician neck.
This person had, however, no time for such "high falutions"; was,

indeed, incapable of faluting at all; having just seen, emerging from the

swirl of cloud, the figure of a glamorous woman of a certain age,

wearing a brocade sari in green and gold, with a diamond in her nose

and lacquer defending her high-coiled hair against the pressure of the

wind at these altitudes, as she sat, equably, upon a flying carpet.

"Rekha Merchant," Gibreel greeted her. "You couldn't find your way to

heaven or what?" Insensitive words to speak to a dead woman! But his

concussed, plummeting condition may be offered in mitigation

. . . Chamcha, clutching his legs, made an uncomprehending query:

"What the hell?"
"You don't see her?" Gibreel shouted. "You don't see her goddamn

Bokhara rug?"


No, no, Gibbo, her voice whispered in his ears, don't expect him to

confirm. I am strictly for your eyes only, maybe you are going crazy,

what do you think, you namaqool, you piece of pig excrement, my love.

With death comes honesty, my beloved, so I can call you by your true

names.
Cloudy Rekha murmured sour nothings, but Gibreel cried again to

Chamcha: "Spoono? You see her or you don't?"


Saladin Chamcha saw nothing, heard nothing, said nothing. Gibreel

faced her alone. "You shouldn't have done it," he admonished her. "No,

sir. A sin. A suchmuch thing."
O, you can lecture me now, she laughed. You are the one with the high

moral tone, that's a good one. It was you who left me, her voice

reminded his ear, seeming to nibble at the lobe. It was you, O moon of

my delight, who hid behind a cloud. And I in darkness, blinded, lost, for

love.
He became afraid. "What do you want? No, don't tell, just go."
When you were sick I could not see you, in case of scandal, you knew I

could not, that I stayed away for your sake, but afterwards you

punished, you used it as your excuse to leave, your cloud to hide

behind. That, and also her, the icewoman. Bastard. Now that I am dead

I have forgotten how to forgive. I curse you, my Gibreel, may your life

be hell. Hell, because that's where you sent me, damn you, where you

came from, devil, where you're going, sucker, enjoy the bloody dip.

Rekha's curse; and after that, verses in a language he did not


understand, all harshnesses and sibilance, in which he thought he made

out, but maybe not, the repeated name _Al-Lat_.
He clutched at Chamcha; they burst through the bottom of the clouds.
Speed, the sensation of speed, returned, whistling its fearful note. The

roof of cloud fled upwards, the water-floor zoomed closer, their eyes

opened. A scream, that same scream that had fluttered in his guts when

Gibreel swam across the sky, burst from Chamcha's lips; a shaft of

sunlight pierced his open mouth and set it free. But they had fallen

through the transformations of the clouds, Chamcha and Farishta, and

there was a fluidity, an indistinctness, at the edges of them, and as the

sunlight hit Chamcha it released more than noise:


"Fly," Chamcha shrieked at Gibreel. "Start flying, now." And added,

without knowing its source, the second command: "And sing."


How does newness come into the world? How is it born?
Of what fusions, translations, conjoinings is it made?
How does it survive, extreme and dangerous as it is? What compromises,

what deals, what betrayals of its secret nature must it make to stave off

the wrecking crew, the exterminating angel, the guillotine?
Is birth always a fall?
Do angels have wings? Can men fly?
When Mr. Saladin Chamcha fell out of the clouds over the English

Channel he felt his heart being gripped by a force so implacable that he

understood it was impossible for him to die. Afterwards, when his feet

were once more firmly planted on the ground, he would begin to doubt

this, to ascribe the implausibilities of his transit to the scrambling of

his perceptions by the blast, and to attribute his survival, his and


Gibreel's, to blind, dumb luck. But at the time he had no doubt; what

had taken him over was the will to live, unadulterated, irresistible, pure,

and the first thing it did was to inform him that it wanted nothing to

do with his pathetic personality, that half-reconstructed affair of

mimicry and voices, it intended to bypass all that, and he found himself

surrendering to it, yes, go on, as if he were a bystander in his own mind,

in his own body, because it began in the very centre of his body and

spread outwards, turning his blood to iron, changing his flesh to steel,

except that it also felt like a fist that enveloped him from outside,

holding him in a way that was both unbearably tight and intolerably

gentle; until finally it had conquered him totally and could work his

mouth, his fingers, whatever it chose, and once it was sure of its

dominion it spread outward from his body and grabbed Gibreel

Farishta by the balls.
"Fly," it commanded Gibreel. "Sing."
Chamcha held on to Gibreel while the other began, slowly at first and

then with increasing rapidity and force, to flap his arms. Harder and

harder he flapped, and as he flapped a song burst out of him, and like

the song of the spectre of Rekha Merchant it was sung in a language he

did not know to a tune he had never heard. Gibreel never repudiated the

miracle; unlike Chamcha, who tried to reason it out of existence, he

never stopped saying that the gazal had been celestial, that without the

song the flapping would have been for nothing, and without the

flapping it was a sure thing that they would have hit the waves like

rocks or what and simply burst into pieces on making contact with the

taut drum of the sea. Whereas instead they began to slow down. The

more emphatically Gibreel flapped and sang, sang and flapped, the

more pronounced the deceleration, until finally the two of them were

floating down to the Channel like scraps of paper in a breeze.


They were the only survivors of the wreck, the only ones who fell from

_Bostan_ and lived. They were found washed up on a beach. The more

voluble of the two, the one in the purple shirt, swore in his wild

ramblings that they had walked upon the water, that the waves had

borne them gently in to shore; but the other, to whose head a soggy

bowler hat clung as if by magic, denied this. "God, we were lucky," he

said. "How lucky can you get?"
I know the truth, obviously. I watched the whole thing. As to

omnipresence and -potence, I'm making no claims at present, but I can

manage this much, I hope. Chamcha willed it and Farishta did what was

willed.
Which was the miracle worker?


Of what type -- angelic, Satanic -- was Farishta's song?
Who am I?
Let's put it this way: who has the best tunes?
These were the first words Gibreel Farishta said when he awoke on the

snowbound English beach with the improbability of a starfish by his

ear: "Born again, Spoono, you and me. Happy birthday, mister; happy

birthday to you."


Whereupon Saladin Chamcha coughed, spluttered, opened his eyes, and,

as befitted a new-born babe, burst into foolish tears.


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