![]() ![]() ![]() You could make yourself a bingo card: Classic Novel or Myth used as Scaffolding, Femme Fatale, Story within the Story (recounted by a Garrulous Narrator), Topical Concerns, Defense of Hybridity. For a writer so frequently praised for ingenuity, Rushdie actually follows a formula of sorts. The later books - “Shalimar the Clown,” “Two Years Eight Months and Twenty-Eight Nights,” “The Golden House” - are all tics, technique and hammy narration that try to toupee over patchy stories, exhausted themes, types passing as characters. ![]() “If he had a fault, it was that of ostentation, of seeking to be not only himself but a performance of himself,” Rushdie writes of a character in his novel “The Enchantress of Florence,” which could read like stinging self-critique. That famous style has congealed in recent years the flamboyance that once felt so free now seems strenuous and grating. Salman Rushdie, whose latest novel, “Quichotte,” is an homage to “Don Quixote.” Credit. ![]()
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