As in Midnight's Children (1981) and Shame (1983), Rushdie resorts to a variety of narrative techniques to present his story. At times he parodies the excessive, artificial, melodramatic, and garish aspects of popular Indian films; on other occasions he adopts the selfreflexive strategies of the metafictionist.
Characteristically, The Satanic Verses blends straightforward narrative with authorial commentary. Gibreel's visions are presented as parables or allegories and have the feel of dreams, while the frame story of the Indian star and Saladin is presented with a mixture of fantasy and realism. Readers who are familiar with the style of Rushdie's earlier novels will not be surprised to find in The.....
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