![]() This implies that a writer’s imagination has no frontiers and can never be fettered. To Rushdie’s mind “the unfettered republic of the tongue” is the most important of the writers’ “habitations”. ![]() America is real only by name, its “reality” being constantly blurred by a constant erasure of the borderline between reality and fiction and by the constant intrusion of the fictitious into the real. Rushdie’s New York is, like DeLillo’s America in White Noise, a glossy hyperreality, a simulacrum. As a matter of fact, the postmodern itself has this dual potential, and Fury is just another novel in which Rushdie gives us a “nice work” of “cultural evisceration”.įury is also an illustration in fiction of Baudrillard’s theory of simulacra and simulations. The mixed reception enjoyed by the novel is an aspect that reflects back on Fury’s potential to both irritate and elate or at least entertain. The core argument of this essay is that Rushdie’s Fury is a novel for the new millennium by its thematic focus, setting, keen observation of various cultural aspects of contemporary America, narrative tempo and even by its suggestive dust-jacket. Salman Rushdie’s “Unfettered Republic of the Tongue” in Fury is an assessment of Rushdie’s achievement in this novel, which is a remarkable contribution to the contemporary literature written in English. Cultural evisceration, simulacra, simulations, glossy hyperreality, erasure of borderline, limbo Abstract ![]()
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