This chapter explores the wider contexts of how Salman Rushdie deploys myths and mythologies and critiques them in his novels. Rushdie’s work has in many ways been influenced by the secular mythology that emerges in Nehru’s seminal book, The Discovery of India. This mythology links Rushdie to ideas of ‘unity in diversity’ and a distinctively Indian form of secularism that produces equal respect for the range of religious communities that inhabit this geopolitical entity. That said, Rushdie engages with a wide range of myths and mythologies, drawn from Islamic traditions, especially Sufism, but also Buddhism, Hinduism, Greek mythology, and Christianity. Rushdie also considers new myths and mythologies, especially in his engagement with popular culture, rock music, and the cult of celebrity, as well as the emergence of consumer culture and capitalism.

This chapter investigates a little considered aspect of Rushdie’s work in the context of soundscapes and the auditory imagination. While ekphrasis and the way in which Rushdie works with images has been widely explored, his novels are fully realized through sound, whether it is trains, filmic soundtracks, songs, or the sounds of street life in cities such as Bombay, London, and New York. The chapter focuses particularly on music across Rushdie’s fictional oeuvre, paying closest attention to The Satanic Verses and The Ground Beneath Hear Feet. It argues that a change is perceptible in the way that music is figured across these two novels, which in turn reflects a wider shift in the author’s politics, especially with relation to Islam.

This chapter considers the wider implications of The Satanic Verses affair and the fatwa. It engages with Rushdie’s considerations of Islam, secularism, and the complexities of geopolitical leadership of the Muslim world. The chapter also explores the wider questions and implications of freedom of expression that have been raised in Europe especially at the time and structured Britain’s relationship with Iran between 1989 and 1998. The chapter examines Rushdie’s own responses to the fatwa, collected in the final sections in his essay collection Imaginary Homelands as well as considering responses from Muslim literary critics and writers, some of whom supported Rushdie, others who spoke out against him, to illuminate the wider public debates around freedom of expression, secularism, and faith, which have proved central to a consideration of Rushdie’s work.

Scheherazade is the central trope that governs Salman Rushdie’s depictions of women. For Rushdie, who was raised on The Arabian Nights, she was the strong woman figure whom he admired the most. Most of his women characters are made in her image and are strong, wily survivors. They are storytellers who, by their wit and wisdom, manage to save themselves, their cultures, and countries through extremely difficult times. Rushdie’s women are drawn admiringly as strong women: Padma the writer’s muse, Amina Sinai the matriarch, and Indira Gandhi the politician in Midnight’s Children; Omar Khayyam’s fawning mothers in Shame; and all the strong women in The Satanic Verses – the Prophet’s wife, Khadija, and the Sufayan sisters, Aurora Zogoiby, and Qara Köz. For Rushdie, Scheherazade herself is the strongest, most admired woman, as we can see in his most recent collection of essays.

Salman Rushdie’s work has exponentially engaged with questions of separatism, terror, and terrorism in an aesthetic mode that draws on certain Orientalist and neo-Orientalist tropes. Taking account of geopolitical and local contexts, this chapter focuses on how Rushdie in fiction and nonfiction has responded to separatism, terror, and terrorism at local, national, and global levels. At the core of this discussion is an analysis of Rushdie’s engagement with Kashmir, from Midnight’s Children to Shalimar the Clown and Joseph Anton. By bringing postcolonial critiques of Orientalism into conversation with recent developments in world-systems analysis, the chapter traces the ways in which Rushdie’s representation of the wider geopolitical consequences of terrorism and state-led terror helps to make sense of the war machine of empire in ways that are sometimes obfuscated by Rushdie’s self-fashioning as a secular hero of free speech.