The Moor's Last Sigh
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Level 8.3, 29 Points
Salman Rushdie. (2010). The Moor's Last Sigh. Knopf Canada.
Chicago / Turabian - Author Date Citation (style guide)Salman Rushdie. 2010. The Moor's Last Sigh. Knopf Canada.
Chicago / Turabian - Humanities Citation (style guide)Salman Rushdie, The Moor's Last Sigh. Knopf Canada, 2010.
MLA Citation (style guide)Salman Rushdie. The Moor's Last Sigh. Knopf Canada, 2010.
| Library | Owned | Available |
|---|---|---|
| Shared Digital Collection | 1 | 1 |
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- bioText: SALMAN RUSHDIE is the author of fourteen previous novels—Grimus, Midnight's Children (winner of the Booker Prize and the Best of the Booker), Shame, The Satanic Verses, Haroun and the Sea of Stories, The Moor's Last Sigh, The Ground Beneath Her Feet, Fury, Shalimar the Clown, The Enchantress of Florence, Luka and the Fire of Life, Two Years Eight Months and Twenty-Eight Nights, The Golden House, and Quichotte—and one collection of short stories: East, West. He has also published four works of non-fiction—Joseph Anton, The Jaguar Smile, Imaginary Homelands, and Step Across This Line. Recognized with numerous awards, he is a member of the American Academy of Arts and Letters and a Distinguished Writer in Residence at New York University. A former president of PEN American Center, Rushdie was knighted in 2007 for his services to literature.
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- In his first novel since The Satanic Verses, Rushdie gives readers a masterpiece of controlled storytelling, informed by astonishing scope and ambition, by turns compassionate, wicked, poignant, and funny. From the paradise of Aurora's legendary salon to his omnipotent father's sky-garden atop a towering glass high-rise, the Moor's story evokes his family's often grotesque but compulsively moving fortunes in a world of possibilities embodied by India in this century.
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"The most complete and gratifying work to emerge from Salman Rushdie's imagination...The Moor's Last Sign is an exotic story, in its setting, in its characters, in its punning extravagance, and in its deeply human core. It is an extraordinary family saga...full of wonderful characters, and the insight born of genuine reflection...A remarkable spell of creativity."
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- source: Toronto Star
- content: "A rich, wonderfully readable novel."
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- content: "One of the most wonderful works of political art I have encountered, a novel to rival Turgenev's Fathers and Sons, or Dante's Divine Comedy...The Moor's Last Sigh is one of the most admirable novels I've ever read."
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January 13, 1997
This saga of a family whose history is interwoven with that of modern India, Rushdie's first adult novel in seven years, won England's 1995 Whitbread award.
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Starred review from January 1, 1996
Not since Midnight's Children has Rushdie produced such a dazzling novel. Nor has he curbed his urgent indignation or muffled his satiric tongue. In a spirited story related at a breakneck pace and crammed full of melodrama, slapstick, supple wordplay and literary allusions, Rushdie has again fashioned a biting parable of modern India. Telling his story ``with death at my heels,'' the eponymous narrator relates the saga of a family whose religious, political and cultural differences replicate the fault lines by which India is riven. The Moor tells of ``family rifts and premature deaths and thwarted loves and mad passions and weak chests and power and money and... the seductions and mysteries of art.'' He speculates on the duality of all things, the conflicting impulses of human nature and the clash between appearance and reality. Like the tale itself, the title has multiple layers of meaning. ``The Moor's Last Sigh'' refers to two paintings, one a masterpiece by the narrating Moor's mother, Aurora, the other a trashy work by her onetime protege and lover, and later implacable enemy, Vasco Miranda, who becomes the Moor's nemesis. The Moor was thus nicknamed at birth, the youngest child of Aurora, the heiress to the da Gama spice-trade dynasty, and Abraham Zogoiby, a penniless Jew who was her family's employee. Aurora has become one of India's most famous artists, even as her shadowy husband has metamorphosed into a power broker in the Bombay underworld. The narrator was born with a deformed right hand and a disease that ages him two years for every year he lives: ``Life had dealt me a bad hand, and a freak of nature was obliging me to play it out too fast.'' The woman he adores is a pathological liar who fools the Moor into making a fatally wrong choice. Rushdie's own plight informs these pages, but it is always integrated into plot and character. Already an outcast from society, the half-Jewish Moor is expelled from his family; when he leaves India, he becomes increasingly disoriented and is eventually imprisoned, awaiting a death that may strike at any time. Of another character, the Moor says: ``Thirty years in hiding! What a torment....'' Rushdie gives his linguistic virtuosity full play: his prose, as always, is energetic, jaunty and lyrical; the dialogue is truly ``lingo-garbling'' as characters speak in such suffix-burdened neologisms as ``you tormentofy me,'' and ``payofy us back.'' A series of indelible portraits evokes the greedy da Gama clan, who personify many of India's self-destructive traits. All too aware of the apocalyptic events toward which he is hurtling, the Moor yearns to ``wipe my moral slate clean.'' Certainly Rushdie's moral rigor has not faltered. Where Midnight's Children heralded the birth pains of modern India, The Moor's Last Sigh charts a nation's troubled middle passage. The society Rushdie portrays so powerfully is rife with corruption; pluralism is dying and a dangerous separatism is on the rise, encouraging hatred and despair. 100,000 first printing; major ad/promo; Random House AudioBook.
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