Fury

Fury

A Novel

Book - 2001
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Random House, Inc.
1. Rushdie writes, “Life is fury. Fury–sexual, Oedipal, political, magical, brutal–drives us to our finest heights and coarsest depths.” Consider what he means by assigning all of these implications to the word. How does it play into the plot and characterizations of the novel? Why do you think he chose it as the title? 2. What do you think is the significance of the fact that Fury is set in a very specific place during a very specific, and recent, time? Consider the events Rushdie talks about, the major political and social players who surface throughout the novel, and the name brands, TV shows, and other cultural icons he mentions at regular intervals. 3. Describe Malik Solanka. How does his profession play into his personality? What is the nature of his relationships with others? How does his cultural background inform his character? 4. Discuss how humor functions in the book. Is this a satire? Does the humor render the novel more real or more surreal? 5. What sorts of religious, literary, philosophical, and/or mythical references appear throughout the book? What functions do they serve within their respective contexts? 6. What is the significance of Malik’s creation, Little Brain? He describes it as “first a doll, later a puppet, then an animated cartoon, and afterward an actress . . . a talk-show host, gymnast, ballerina, or supermodel. . . .” Is there something to be said for the process it underwent to become the final result? 7. There are many different subplots running through the novel. How do they relate to one another? How do they relate to Malik? 8. How do love and romance function in the novel? Malik encounters several women throughout the course of the book; what are their similarities? differences?
'Life is fury. Fury-sexual, Oedipal, political, magical, brutal- drives us to our finest heights and coarsest depths. This is what we are, what we civilize ourselves to disguise-the terrifying human animal in us, the exalted, transcendent, self-destructive, untrammeled lord of creation. We raise each other to the heights of joy. We tear each other limb from bloody limb.' Malik Solanka, historian of ideas and dollmaker extraordinaire, steps out of his life one day, abandons his family without a word of explanation, and flees London for New York. There's a fury within him, and he fears he has become dangerous to those he loves. He arrives in New York at a time of unprecedented plenty, in the highest hour of America's wealth and power, seeking to 'erase' himself. Eat me, America, he prays, and give me peace. But fury is all around him. Cabdrivers spout invective. A serial killer is murdering women with a lump of concrete. The petty spats and bone-deep resentments of the metropolis engulf him. His own thoughts, emotions, and desires, meanwhile, are also running wild. A tall, green-eyed young blonde in a D'Angelo Voodoo baseball cap is in store for him. As is another woman, with whom he will fall in love and be drawn toward a different fury, whose roots lie on the far side of the world. Fury is a work of explosive energy, at once a pitiless and pitch-black comedy, a profoundly disturbing inquiry into the darkest side of human nature, and a love story of mesmerizing force. It is also an astonishing portrait of New York. Not since the Bombay of Midnight's Children have a time and place been so intensely and accurately captured in a novel. In his eighth novel, Salman Rushdie brilliantly entwines moments of anger and frenzy with those of humor, honesty, and intimacy. Fury is, above all, a masterly chronicle of the human condition.

Baker & Taylor
Malik Solanka, a middle-aged ex-philosophy professor and millionaire creator of a hugely popular doll, seeks refuge from his unwanted fame and disintegrating marriage in New York City, where his own seething fury is mirrored in an urban jungle seething with anger. By the author of The Satanic Verses. 150,000 first printing.

Blackwell North Amer
Malik Solanka, historian of ideas and dollmaker extraordinaire, steps out of his life one day, abandons his family without a word of explanation, and flees London for New York. There's a fury within him, and he fears he has become dangerous to those he loves. He arrives in New York at a time of unprecedented plenty, in the highest hour of America's wealth and power, seeking to "erase" himself. Eat me, America, he prays, and give me peace.
But fury is all around him. Cabdrivers spout invective. A serial killer is murdering women with a lump of concrete. The petty spats and bone-deep resentments of the metropolis engulf him. His own thoughts, emotions, and desires, meanwhile, are also running wild. A tall, green-eyed blonde in a D'Angelo Voodoo baseball cap is in store for him. As is another woman, with whom he will fall in love and be drawn toward a different fury, whose roots lie on the far side of the world.

Baker
& Taylor

Malik Solanka, a middle-aged ex-philosophy professor and millionaire creator of a hugely popular doll, seeks refuge from his unwanted fame and disintegrating marriage in New York City.

Publisher: New York : Random House, 2001
Edition: 1st ed
ISBN: 9780679463337
067946333X
Branch Call Number: FICTION RUSHDIE
Characteristics: p. cm

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lukasevansherman
Oct 09, 2014

"Life is fury, he'd thought. Fury-sexual, Oedipal, political, magical, brutal-drives us to our finest heights and coarsest depths."
Salman Rushdie enjoys the rare status of being a celebrity author who is acclaimed, feted, and known even by those who don't read. "Midnight's Children," still his best book by a Bombay mile, is ranked as one of the greatest, most influential novels of the past three decades. He was also married to a beautiful model/TV host (there's a 10/90 %) to whom this book is dedicated. Yet, in this novel from 2001, none of that seems enough. It is Rushdie's America novel and, while I'm no knee-jerk patriot, there is something irritating about an author moving to a country that has embraced him and proceeding to tell us everything that's wrong with American culture. He does so in the most crude and obvious way, comparing America to Imperial Rome and castigating our noise, shallowness, pop culture, and celebrities, whose names he has no problem dropping in such a way that would make Brent Easton Ellis blush. Remember, this an author who hangs out with Bono. It's a singularly acrid and unpleasant book that takes the worst aspects of Bellow and Roth and magnifies them into something that is caricature without humor and satire without insight. A shameful performance from a once great writer.
"It is one thing to write an allegory or an apologia about how America has compromised one's soul, but it is quite another to publish a novel that so emphatically re-enacts that compromise."-James Wood, The New Yorker

j
JBull
Dec 03, 2010

In Rushdie's books, you see that he really understands how the world works. He predicts 9/11 in this one, and in the novel that spawned his fatwa, there is a character named Salman who changes the words of Mohammed and is condemned for it.

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