Shame

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an ironic and brutal all at once. . .[Rushdie’s work] is responsive to the world rather than removed from it, and it is because of this responsiveness that the mode in which he work represents the continued life of the novel. . . and one wants something better to describe it that the term ‘magical realism’— is an assertion of individual freedom in a world where freedom is strangle. . . "(360, Editor) Christopher Lehmann-Haupt boldly asserts, "If Mr. Rushdie had followed [the logic of realistic psychology] in , he would have robbed his novel of its spectral magic, its breakdown of narrative logic that allows time to rush suddenly forward and reveal the end of things, or permits characters to be reincarnated in each other. He would have robbed his novel of the truth—not precisely the truth of the parable or allegory or myth, but the truth of a narrative that describes a world apart and is a system accurate and logical only unto itself"(356, Editor) Lehmann-Haupt then goes on to compare ...

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