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  "Golden House" by Salman Rushdie: In the Kingdom of Jokers – Culture | Bit Updates
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"Golden House" by Salman Rushdie: In the Kingdom of Jokers – Culture

Tuesday, September 5th, 2017 | bitcoin updates

There are at first many narrator in this materially overbearing, partly trickled, partly with a certain stringency advanced novel by Salman Rushdie; a novel full of allusions to Greek mythology, cinema, pop culture, and much more. Who, then, is meant by the plural Majestatis, with the "Golden House"? It is the New York neighborhood that surprises the man and his three sons who emerge from nowhere in the Macdougal-Sullivan Gardens Historic District in the Greenwich Village, one of a gigantic garden, outwardly beautifully shielded complex of houses in the neo colonial? Or humanity as a whole, which was so enthusiastically inspired by the election of Barack Obama to the 84th US President? However, according to Rushdie, it was not possible to prevent his eight-year term from being unproblematic, and moreover, "the years of the increasingly unpredictable and alarming rule of man over us, who called himself Nero Golden, who was not really a king, and on At the end of this time, a great – and metaphorically speaking, apocalyptic – fire broke out. "Rushdie tells extensively about Nero Golden and the quirks of his three sons, Ja, who is talking about the devastating terrorist attacks on November 23, 2008 at various locations in Mumbai, the Nero Golden and his sons to New York City? Rushdie? A personal narrator? And finally there is an I-narrator, a certain René: "Call me René". He also lives in the house and garden complex, is a young, handsome man, as well as a filmmaker at the beginning of his career with plans for a big film. The Goldens come to him as they were, "they were my flying saucer, my engine, my bomb, my story," René said. And then he thinks it out, this story, with the Goldens, with the house community drumherum, and it goes off, there are already fifty pages past, with the sentence "Once upon a time there was an evil king, his three sons forced to leave their homes, "and in the middle of the fiction of Rushdie's narrator, in his film, in the fictions of this novel, against the background of the past eight very real years until the election of Donald Trump. Salman Rushdie, you know about him, is a self-confident story-teller who works with all the tricks and feats, one who loves the operetta as well as the operetta, and likes to take a look at realism. René is his guarantor, and he then tells extensively about Nero and the quirks of his three sons. One, Petya, is Autist, the second, Apu, an artist with an inclination to mysticism and drug problems, the third and youngest, D, a man who is more of a woman than a man and does not know his mother. The mother of the two elders died in the terrorist attack in Mumbai.

In this novel there is also an Identity Museum AberNero marries again, a young Russian woman, Vasilisa, and with her, René is increasingly entangled in the destiny and misfortune of this family. He becomes a figure in his own story. One day René embarks on a diabolical pact: because Nero's sperm does not give it, Vasilisa is pregnant, so she and Nero can become parents. And the narrator who loves his friend Suchrita above all else? "I lacked the will to prevent what was to happen." After that, the events were over. After the parents of René have died, the death enters Nero Golden's house and gradually takes his sons, while the small Vespasian makes his first steps into life. René solves the riddles of Nero's criminal past, of its mafia complications. And Rushdie is driving his story of good and evil, of guilt and atonement, of the lies which unprecedentedly reveal truths, relentlessly and sometimes a little bit of tension, with various cuts, camouflaging and fading, always ahead of him Background of US policy and presidential elections. The writer Salman Rushdie, born in India in 1947. Photo: Jörg Carstensen / dpa

 He is not lacking in ideas such as the "identity museum" of Ds girlfriend Riya. In this, identity is examined from all its sides – national, sexual, ethnic or political. Or the great circuses of Manhattan that Petya undertakes (yes, "Golden House" is also a New York novel) to free himself from his anxiety neuroses. Sometimes Rushdie goes through the ideas. Not every reference to Italo Calvino, Scott Fitzgerald or Shakespeare, to Alfred Hitchcock or Bollywood wants to fit into the composition of the novel. And the figures of this novel also lack a certain depth, their tragedy seems to be effective, claiming that the double fiction does not do them good.

Donald Trump is a comic figure: the joker, green hair and clown mask. What Salman Rushdie always has in mind is the emergence of the joker with his green hair and the clown face, the DC comic and later film character, here for Donald Trump. "Taxi-driven Sikhs, rodeo cowboys, rabid old-right blondes and black brainchildren agreed, we love his madness, no fear-hystereism from him, he shoots directly from the hip, says whatever he wants to condemn he's our man. "Batwoman has no chance against him, and, of course, it is no coincidence that the fire, the apocalypse, and the Election of Jokers to the king coincide temporally. Salman Rushdie wonders if it makes any sense to understand humanity, "if humanity proved to itself grotesque, dark, or not protective?" His novel attempts to restore this meaning, and the work runs well when life is terrible, his young, desperate hero also knows. One should understand "Golden House" probably as a warning, as a wake-up call. For it is not only in the end that becomes clear: Nero Golden and his sons, we are! Salman Rushdie: Golden House. Novel. From the English by Sabine Herting. C. Bertelsmann, Munich, 2017. 512 pp., 26 €


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