"It makes me want to hide behind the furniture, Rushdie now says of his debut. It's a science fiction story, more or less, but also indicative of the sort of writer Rushdie would become: garrulous, playful, energetic. The tale of an immortal Indian who travels to a mysterious island, it's messy but charming, and the sense of writing as performance is already here. (Rushdie's first choice of career was acting, and he honed his skill in snappy lines when working in an advertising agency.)"
"Quichotte (2019) Rushdie's love for pop culture he was inspired to write his first story, aged nine, after watching The Wizard of Oz was never more evident than in this rompy rewrite of Don Quixote that references Back to the Future, Disney's Pinocchio, Beavis and Butt-Head, Starsky & Hutch and more. The eponymous character is driven mad by watching too much TV but his story is itself being written by a washed-up spy novelist."
"The Moor's Last Sigh (1995) Rushdie's first novel for adults after The Satanic Verses prompted the supreme leader of Iran to issue a fatwa against him in 1989 was a dam bursting open to release all the pent-up ideas, characters and jokes of the previous six years. It's the story of Moor Zogoiby, the ousted heir to a crooked spice dynasty and the youngest of four siblings: Ina, Minnie, Mynah, Moor."
Early works combine energetic, garrulous narration with performative theatricality and genre play. A debut blends science fiction imagery with mythic motifs, following an immortal Indian on a mysterious island and showcasing messy charm alongside a clear sense of writing as performance. Quichotte (2019) repurposes Don Quixote through a pop-culture kaleidoscope, layering references from Back to the Future to Beavis and Butt-Head and presenting a metafictional tale written by a washed-up spy novelist. The Moor's Last Sigh (1995) unfolds as a sprawling family saga about Moor Zogoiby, releasing accumulated ideas, characters, and jokes into rich, nutritious entertainment recognized by major literary awards.
Read at www.theguardian.com
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