The Moor's Last Sigh | Critical Review by Phoebe-Lou Adams

This literature criticism consists of approximately 1 page of analysis & critique of The Moor's Last Sigh.
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Critical Review by Phoebe-Lou Adams

SOURCE: A review of The Moor's Last Sigh, in The Atlantic Monthly, Vol. 277, No. 2, February, 1996, p. 114.

Below, Adams presents a positive review of The Moor's Last Sigh.

Mr. Rushdie's new novel is so intricate, so multi-faceted, and so fast-moving that it keeps the reader dizzily enthralled from beginning to end. It may also add a Hindu curse to the Islamic price on the author's head, for beneath the surface glitter of the tale lies a protest against the rise of chauvinistic Hindu fundamentalism and the dissolution of a once tolerant and flexible culture. The Moor of the title, who has nothing to do with Othello, is Moraes Zogoiby, the story's narrator. He is the last male survivor of two European families that flourished for centuries in the spice trade of the Malabar Coast. The Portuguese Da Gamas claim illegitimate descent from the great Vasco—improbably. The Jewish Zogoibys are suspected of descent, also illegitimate and improbable, from Boabdil, the last Sultan of Moorish Spain. The Da Gamas thrive on art, violence, and personal eccentricities of which walking a stuffed dog on a leash is a mild example. The Zogoibys remain largely offstage, but the activities of Moraes's father, Abraham, indicate a talent for finance, political intrigue, revenge, and dissimulation. The characters speak with a wild, crackling eloquence; comic, horrible, and fantastic events merge and conflict; and the history of modern India rumbles in the background. In addition to everything else, the work is enormously entertaining.

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This section contains 250 words
(approx. 1 page at 300 words per page)
Buy the Critical Review by Phoebe-Lou Adams