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Fury novel salman rushdie6/28/2023 ![]() ![]() ![]() Simply put: Solanka, or Rushdie, or both, see women as objects. There’s a lot to unpack here, and Fury would be a fascinating novel if not for its women. There’s also a simmering subplot about a small Caribbean nation locked in the throes of a land dispute whose roots lie ultimately in colonialism – a story which Solanka co-opts in the later half of the novel for a multi-media franchise starring his dolls (which in turn starts feeding the conflict). But there’s fury in New York, too: a serial killer’s on the loose, whacking wealthy young women on the head with lumps of concrete. When the novel begins, he’s left his wife Eleanor and young son to flee to New York, pursued by a nameless fury that he fears will see him murder his family. Our Protagonist is Malik Solanka, an academic and dollmaker born in New Delhi but lately of London. And, for reasons I’ll outline below, I’m not particularly inclined to give it the benefit of the doubt. ![]() I’m not at all confident that it is, though. It would be nice if I could think that this was a response Rushdie intended to elicit, a deliberate and knowing effect working in concert with the themes of the novel. ![]() Salman Rushdie’s Fury made me, appropriately, furious. ![]()
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