Topic:-Two essays from ‘Imaginary Homelands’
Name: - Saiyad Nargis I.
Roll No:-14
Semester: - 1
Batch:-2011-12
Submitted to,
Dr. Dilip Barad
Dept. of English
Bhavnagar
Essays - ‘Imaginary Homelands’
Essayist - Salman Rushdie

Salman Rushdie was born on 1947 in Bombay . He was a novelist and an essayist, too. The genres in his writing are magic realism, satire and post-colonialism. His main subjects are criticism and travel-writing. His style is often classified as magical realism mixed with historical fiction and dominant theme of his work is the story of many connection disruptions and migrations between the eastern and western world. He won the Booker prize in 1981 for his second novel ‘Midnight ’s Children’. Much of his fiction is set on Indian continent. His latest novel is ‘Luca and the Fire of Life’ published in November, 2011 for which he announced that he has begun writing his memoirs.

‘Imaginary Homelands’ is a collection of essays which covers a wide variety of topics like, ‘Imaginary Homelands’, ‘Commonwealth Literature doesn’t exist’, ‘The New Empire within Britain’, ‘Attenborough’s Gandhi’ etc…

In this, the essayist talks about his experience of London seminar.
In the beginning, he says that the essay is taken from contribution in a seminar which was held in 1982 in London . He first tells about the condition of different countries. He says that this time was the time of festival in India and in these days Indira Gandhi was back as India ’s premier. In Pakistan , Zia regime was consolidating after the execution of Zulfiqar Ali Bhutto. Britain was in the Thatcher revolution and in America . Ronald Reagun was still a cold warrior. This was the structure of the world. He says that the upheavals of 1989 and 1990 changed all these.
It was such a situation that the old was dying and yet the new was not coming. There were new possibilities, uncertainties, and dangers with a transforming international scene. Gramci says about this,
‘In this interregnum there arises a great diversity of morbid symptoms.’
Rushdie says that this is an incomplete book of 1980s’s views told by him and Rushdie says that there were not all the symptoms morbid. He says so, because he had published his second novel ‘Midnight’s Children’ in 1981 which was much appreciated by accepted by the people. He was enjoying writing it and he says that first time the people liked his book. He had written the novel ten years ago but it was rejected and after ten years he could begun to write and he felt good. After telling all these, now Rushdie starts to talk about his experience of London seminar.
In the seminar, there were perhaps all the ‘Indo-Anglian’ writers like, Nirad C. Chaudhari, Anita Desai, Mulk Raj Anand, Raja Rao etc…Only R.K.Narayan was absent. Someone told the essayist that,
“Narayan is so courteous that he always accepts, but he never shows up.”
Now Rushdie was eager to listen all these writers. It was exhilarating for him to meet and listen them but there were worrying moments, too. One novelist started his speech by reciting Sanskrit sloka. Then instead of translating it, he says that every educated writer would understand, educated Indian would understand it. But there were many writers like Rushdie who couldn’t understand it but it doesn’t mean that they were not Indian.
Then he talks about one the paper of one Indian academy in which they had ignored minor community. After it he talks about the volumes of his work. At the end, he writes the acknowledgement. He especially thanks to Susannah Clapp because his phrase was first the title of the essay and then of this book.

In this essay, Rushdie talks about Attenborough’s movie ‘Gandhi’.
He says that deification is an Indian disease. In India , Gandhi is higher than anyone but he has a question which he asked to people many a time. He asks;
“Why American academy wish to help him by offering in a temple eight glittering statuettes to a film?”
The answer may be that he satisfies certain longings in the western psyche. It can be divided in three answers,
A. The exotic impulse to see India as the fountainhead of spiritual-mystical wisdom,
B. The Christian longing for a ‘leader’ dedicated to ideals of poverty and simplicity,
C. A political desire that revolutions should be made purely by non-violence alone.
Rushdie says that the British have been mangling Indian history for centuries. Much of debate has been done about this movie that Why not Subhas Bose? Why no Tagor? , Why not Nehru? The answer is that the center is important for any artistic work because that creates meaning.
There are many powerful sequences in this movie. For example, the American massacre. In court-martial an Englishman asks the question about Jaliawala Bagh to Dyer. The scenes say that his actions were those of a cruel and immediately after condemned by Anglo-India. It was false.
The British in Punjab in 1919 were afraid of second Indian mutiny. When Dyer goes to England , he was welcomed as a hero. The meaning was completely changed here.
In the movie, Gandhi’s assassination comes in the beginning as well as in the end, also. In between this there is nothing about assassination. In the movie, Nathuram Godse is a member of the Hindu-fanatic RSS, who blamed Gandhi as a reason for the partition. In the movie, he is in crowd that represents him differently,
o It may be that he represents the crowd that turned against Gandhi,
o Godse was ‘one lone nut’,
o Gandhiji is a Christ and his assassination is the crucifixion which is done by Godse
In the movie, Godse was not the representative of mob because he was not alone in his work. The awkward aspects are there in the movie. The movie also omits Gandhi’s fondness for Indian billionaire industrialists. He died in Birla House in Delhi .
Gandhiji also represents the portraits of most of the leaders, who struggled for the independence. Patel is a hardworking man whereas he is like a clown here; Jinnah is portrayed as count Dracula, the most important change is in the personality of Nehru.
Nehru was not Gandhiji’s disciple. Their debate was famous. Nehru was the urban sophisticated person who wanted to industrialize India while Gandhi was a rural man, handicraft-loving and so, there was conflict in their ideas. In this film, Nehru becomes acolyte of Gandhi.
Here, Bose was violent. He improved the movie. The message of Gandhi was to fight against oppressors without weapon, without violence but it was all non-sense. The leaders in India didn’t succeeds because they were more moral than British. The British were smarter, craftier who fought with politician than opponents.
Rushdie says that it was a best film of 1983, God help the film industry. It was expensive movie. Ben Kingsley performs the role of Gandhi.
Thus, Rushdie gives his views about Attenborough’s film and at the end, he writes a very significant line,
‘Rich men, like emperors, have always had a weakness for tame holy men, for saints’.

Rushdie remembers his past life in this essay. He saw a hanging picture on the wall. It was of 1946 on when he was not yet born. The house may be three-storeyed.
He remembers the famous sentence of L.P.Hartley’s novel ‘The Go-Between’ and the sentence is
‘The past is a foreign country’.
A few years ago he revisited Bombay which was his lost city. He found a telephone directory and he saw his old address, a telephone number. It was an eerie discovery. Then he saw a photograph in the house and stood there. He was overwhelmed. It was in black and white colour but the colour of his mind filled the colour in that picture.
Then he talks about his novel ‘Midnight ’s Children’. When he was writing it reminds him his past and he thought to capture his all past not only in photos. He says that Bombay is a city built by foreigners. He says that when he was writing a book in North London , he was looking out of the window. It was totally new. It was totally like that that he saw in the news-paper in childhood.
He also talks about Saleem. His mistakes were of memory. He gives his experience that before he started to write ‘Midnight ’s Children’, he recalled his past memory, past Bombay . Then he remembers the Bombay of the 1950s and 1960s. He also remembers Bombay-Kashmir and Delhi-Aligarh. He recalls Bombay ’s dialogues, ads for Binaca and for Kolynos.
He remembers the board,
‘Drive like Hell and you will get there.’
He also remembers Saleem’s theme song ‘Mera Joota Hai Japani’.
He says that the writer who is out of country and even out-of-language may experience this loss in intensified form. He says that John Fowles begins ‘Daniel Martin’ with the words like whole sight: or all the rest is desolation. He says that we are not Gods but we are wounded creatures, cracked lenses.
He recalls the conference in which he took part in New College , Oxford . The conference was about of modern writing. He says that the black American writer Richard Wright wrote that black and white were in war but their description was incompatible.
He tells about his one topic of ‘Midnight ’s Children’ –Indian pessimism. He says that Indian writers of England are the same animals. He asks what ‘Indian’ means out side India . He agrees with the writer Ralph Ellison who wrote a collection ‘Shadow and Act’ in which he writes that he is happy of being black in America at that time.
Art is a passion of mind and the imagination works best when it is free.
At last, he remembers Saul Bellow’s latest novel ‘The Dean’s December.’ In this novel, the dog barks and Rushdie says that dog is barking for its limits and dog says to open the universe. Rushdie then says that it is for everyone and so, everyone says,
“For God’s sake, open the Universe a little more!”