This declaration of intent to engage in a war, both intimate and collective, points to the challenge of actual politics for an artist. This passage is a turning point in the story of his life as a fugitive: from then on, he proceeds to reclaim lost territory and to become the protagonist of his life, tired of being a ‘football’ or a ‘pawn’ in ‘someone else’s game’ (390) ‘kicked from end to end’ (241). He would try to become a loud and visible man’ (340). The fight against fanaticism needed visible faces, audible voices. 1 In the beginning, he thinks like a writer, strongly convinced of the power of words and arguments: (.)ġ Midway through his memoir, Joseph Anton, Salman Rushdie identifies the precise moment when he decided ‘to lead the campaign against the fatwa’ (398) and to defend himself, because, he explains, ‘n invisible, silent man was an empty space into which others could pour their prejudices, their agendas, their wrath.
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