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Midnight's Children, by Salman Rushdie
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Selected by the Modern Library as one of the 100 best novels of all time
Winner of the Booker of Bookers
Saleem Sinai is born at the stroke of midnight on August 15, 1947, the very moment of India’s independence. Greeted by fireworks displays, cheering crowds, and Prime Minister Nehru himself, Saleem grows up to learn the ominous consequences of this coincidence. His every act is mirrored and magnified in events that sway the course of national affairs; his health and well-being are inextricably bound to those of his nation; his life is inseparable, at times indistinguishable, from the history of his country. Perhaps most remarkable are the telepathic powers linking him with India’s 1,000 other “midnight’s children,” all born in that initial hour and endowed with magical gifts.�
This novel is at once a fascinating family saga and an astonishing evocation of a vast land and its people–a brilliant incarnation of the universal human comedy. Twenty-five years after its publication, Midnight’s Children stands apart as both an epochal work of fiction and a brilliant performance by one of the great literary voices of our time.
- Sales Rank: #23108 in eBooks
- Published on: 2010-07-23
- Released on: 2010-08-26
- Format: Kindle eBook
Amazon.com Review
Anyone who has spent time in the developing world will know that one of Bombay's claims to fame is the enormous film industry that churns out hundreds of musical fantasies each year. The other, of course, is native son Salman Rushdie--less prolific, perhaps than Bollywood, but in his own way just as fantastical. Though Rushdie's novels lack the requisite six musical numbers that punctuate every Bombay talkie, they often share basic plot points with their cinematic counterparts. Take, for example, his 1980 Booker Prize-winning Midnight's Children: two children born at the stroke of midnight on August 15, 1947--the moment at which India became an independent nation--are switched in the hospital. The infant scion of a wealthy Muslim family is sent to be raised in a Hindu tenement, while the legitimate heir to such squalor ends up establishing squatters' rights to his unlucky hospital mate's luxurious bassinet. Switched babies are standard fare for a Hindi film, and one can't help but feel that Rushdie's world-view--and certainly his sense of the fantastical--has been shaped by the films of his childhood. But whereas the movies, while entertaining, are markedly mediocre, Midnight's Children is a masterpiece, brilliant written, wildly unpredictable, hilarious and heartbreaking in equal measure.
Rushdie's narrator, Saleem Sinai, is the Hindu child raised by wealthy Muslims. Near the beginning of the novel, he informs us that he is falling apart--literally: I mean quite simply that I have begun to crack all over like an old jug--that my poor body, singular, unlovely, buffeted by too much history, subjected to drainage above and drainage below, mutilated by doors, brained by spittoons, has started coming apart at the seams. In short, I am literally disintegrating, slowly for the moment, although there are signs of an acceleration. In light of this unfortunate physical degeneration, Saleem has decided to write his life story, and, incidentally, that of India's, before he crumbles into "(approximately) six hundred and thirty million particles of anonymous, and necessarily oblivious, dust." It seems that within one hour of midnight on India's independence day, 1,001 children were born. All of those children were endowed with special powers: some can travel through time, for example; one can change gender. Saleem's gift is telepathy, and it is via this power that he discovers the truth of his birth: that he is, in fact, the product of the illicit coupling of an Indian mother and an English father, and has usurped another's place. His gift also reveals the identities of all the other children and the fact that it is in his power to gather them for a "midnight parliament" to save the nation. To do so, however, would lay him open to that other child, christened Shiva, who has grown up to be a brutish killer. Saleem's dilemma plays out against the backdrop of the first years of independence: the partition of India and Pakistan, the ascendancy of "The Widow" Indira Gandhi, war, and, eventually, the imposition of martial law.
We've seen this mix of magical thinking and political reality before in the works of G�nter Grass and Gabriel Garc�a M�rquez. What sets Rushdie apart is his mad prose pyrotechnics, the exuberant acrobatics of rhyme and alliteration, pun, wordplay, proper and "Babu" English chasing each other across the page in a dizzying, exhilarating cataract of words. Rushdie can be laugh-out-loud funny, but make no mistake--this is an angry book, and its author's outrage lends his language wings. Midnight's Children is Salman Rushdie's irate, affectionate love song to his native land--not so different from a Bombay talkie, after all. --Alix Wilber
Review
“Extraordinary . . . one of the most important [novels] to come out of the English-speaking world in this generation.”
–The New York Review of Books
“The literary map of India is about to be redrawn. . . . Midnight’s Children sounds like a continent finding its voice.”
–The New York Times
“In Salman Rushdie, India has produced a glittering novelist– one with startling imaginative and intellectual resources, a master of perpetual storytelling.”
–The New Yorker
“A marvelous epic . . . Rushdie’s prose snaps into playback and flash-forward . . . stopping on images, vistas, and characters of unforgettable presence. Their range is as rich as India herself.”
–Newsweek
“Burgeons with life, with exuberance and fantasy . . . Rushdie is a writer of courage, impressive strength, and sheer stylistic brilliance.”
–The Washington Post Book World
“Pure story–an ebullient, wildly clowning, satirical, descriptively witty charge of energy.”
–Chicago Sun-Times
From the Trade Paperback edition.
Review
" Extraordinary . . . one of the most important [novels] to come out of the English-speaking world in this generation."
- The New York Review of Books
" The literary map of India is about to be redrawn. . . . Midnight's Children sounds like a continent finding its voice."
- The New York Times
" In Salman Rushdie, India has produced a glittering novelist- one with startling imaginative and intellectual resources, a master of perpetual storytelling."
- The New Yorker
" A marvelous epic . . . Rushdie's prose snaps into playback and flash-forward . . . stopping on images, vistas, and characters of unforgettable presence. Their range is as rich as India herself."
- Newsweek
" Burgeons with life, with exuberance and fantasy . . . Rushdie is a writer of courage, impressive strength, and sheer stylistic brilliance."
- The Washington Post Book World
" Pure story- an ebullient, wildly clowning, satirical, descriptively witty charge of energy."
- Chicago Sun-Times
Most helpful customer reviews
1 of 1 people found the following review helpful.
An outstanding literary creation. Take the plunge, learn, be challenged, and enjoy.
By Ser Zen
What an outstanding novel, what a great invitation to follow the literary imagination and excellent writing capabilities of a very creative, and daring cosmopolitan mind!
Centre stage belongs to the complex linkages among intimate, personal, family, ethnic, and social class tensions between keeping (Muslim-Hindu) traditions and/or transforming them, as well as between building radical ethnic-oriented nationalisms or contributing to the creation of more cosmopolitan societies in what has been called the Indian sucontinent during most of the 20th century. What is at stake, both simultaneously and inseparably, is the formation of a united nation (India) or of different nations (a Hindu-based India, and a Muslim-based East/West Pakistan, or Pakistan and former East Pakistan as independent Bangladesh), the creation of a united, close-knitted family or of several loosely interrelated domestic groups, and the forging of coherent individuals or internally-conflicting personalities. Nation-building-oriented competing stories about history, tradition, identity, faith, love, hatred, treason, and loyalty are compellingly, and imaginatively intertwined with family/personal-building-oriented ones.
So the characters are always complexly embedded in interpersonal, family, social class, and ethnic-national relationships. The main character's life is inseparably linked to the conflicting formation processes of both his family, of his family's place in social class terms, and of India (Pakistan, and Bangladesh). In fact, the novel's name comes from the coincidence of several births happening at the same time: the independence of several culturally and politically heterogeneous territories from the British Crown in order to launch themselves in the challenge of forming India, the main character's birth, and that of a large group of other children ---all born at midnight, on...
According to my understanding, the main character and the other "midnight's children" represent the constantly challenged, threatened hope for the building of better futures, but not in a Hollywood style of a Happy End embedded in an individualistic ideology. Life is, whether we like it or not, immensely more complex. Take the plunge, learn, be challenged, and enjoy.
1 of 1 people found the following review helpful.
Epic in scope, brilliant and flawed
By D. Friedman
Although Midnight’s Children is proclaimed as Rushdie’s masterpiece, I did not enjoy it as much as I did Shalimar the Clown. It’s epic in its scale and ambition. There is so much here it may be difficult for some readers (myself included) to digest it all. There are a staggering number of minor characters, all realized with Rushdie’s customary skill. There are many passages of brilliance, wit, and wisdom. But these multitudinous characters slither in and out of the narrative making it difficult at times to follow, particularly considering that a novel of this length and complexity does not lend itself to a reading of one, or even just a few sittings. It is in the form of a three-volume “confession” by the narrator, Saleem Sinai, who is born at the exact midnight moment of India’s birth as a nation (hence the novel’s title), to his consort and fianc�, Padma. To add to the difficulties many of the characters have multiple names.
Rushdie employs some literary devices that detracted from my enjoyment of the novel. At times it almost seemed as if he was indulging in technique for technique’s sake. One device is repetition. For instance, there’s constant thematic repetition of “knees and nose, nose and knees”, Saleem being the nose and his arch-enemy and rival, Shiva, being the knees. After a while my response was I get it, their fates are intertwined, but I don’t get why I need to read this formula yet again (maybe I don’t get it? I’m not even quite sure why the formula couldn’t be reversed. Are knees aggressive and the nose sensuous? A lot of hammering on one nail.) Another is Rushdie’s use of obscure vocabulary without any clear purpose that I can understand (even when I understand the words without looking them up). For example the words apocrine and eccrine keep popping up in the narrative without any clear reference (at least to me).
Another problem I had, particularly with Volume 3 (spoiler alert – don’t read further if you want to remain in suspense), is where we learn of the identity of “the Widow”, who is the villain of the piece. It’s Indira Gandhi. The anti-Gandhi theme introduced here seems a bit overheated. Although Indira Gandhi did do some bad things, particularly the suspension of democracy during the “Emergency” of 1975-77, which is the background for a significant part of Volume 3, they seem pretty small beer when compared with the great historical crimes of the twentieth century. In fact she seems not obviously better or worse than many of the Prime Ministers India has experienced before and afterwards. So the tone of outrage and focus on her as the villainous “Widow”, while it may have been understandable from Rushdie’s perspective at the time Midnight’s Children was completed (1979), seems rather dated.
All that said it would be unfair not to note that there are many passages in Midnight’s Children of great beauty and wisdom. Rushdie is unparalleled in capturing the sweep of life in India and Pakistan (and Bangladesh) and his genius for this is at its most expressive in this novel. He is also a writer of great learning and knowledge of what he writes -- knowledge which is fully on display here (in a good sense). The Bombay of which he writes is the Bombay of his own childhood; he himself was born in 1947, the year of India’s independence, the same as Saleem, the “hero” of the piece. Along the way, he gives us all sectors of Indian society, from the wealthy and privileged to the underclasses, and he does it with a true novelist’s eye (and nose!) for the telling detail and without editorializing. He succeeds in interweaving the private incidents in the lives of the characters he has created with historical events of the period: from the early part of the twentieth century to the late 70s, when the book was completed. It’s just a shame that because of their sheer number we don’t get to know some of them better. But maybe that’s inherent in Rushdie’s method; he himself has acknowledged his debt to Charles Dickens, and I guess one should no more expect to probe the depths of Nussie the Duck’s or Parvati-the-Witch’s psyches any more than those of Mr. Micawber or “Barkis is willing”.
3 of 3 people found the following review helpful.
Great and worth the effort to read it.
By Roadhouse
This is an extraordinary book. It is rich in imagination, language, complexity and story-telling skill. In Rushdie's hands, the most improbable, wacky, plot lines seem plausible. And, there's plenty in the book to make you stop and laugh out loud. This is no small matter given that the backdrop of the story is the establishment and early years of India and Pakistan- a miserable 25 years with ordinarily very little to smile about.
When I finished the book I knew two things: I had engaged with a piece of important literature, and a second reading (perhaps in six months) would be even more revelatory of the book's creative genius.
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