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Salman Rushdie’s
Fury
follows the life of Malik Solanka. Solanka, estranged from his family, wanders
New York in an angry haze, a haze that hinders his existence, clouds his judgment,
and even leads the man to question if he is in fact a serial killer. A former
college professor and an entertainment mogul ashamed of the very creations that
established his wealth, Solanka existentially explores both his existence and
modern life in general. Unlike many of Rushdie’s novels,
Fury digs into the culture of all humanity
in lieu of delving into post-colonial themes. He chips away at consumerism,
entertainment, and the culture of now, remarkably in an age prior to the advent
of social media.
As always Rushdie’s prose is dense, but the experience is
meaningful, for as Solanka discovers who and what he is, who and what he hates,
and how to deal with his internal fury, he exposes fundamental truths to all
humanity, for all of us are driven by our fury.
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