Published by Random House on September 8, 2015
Two years, eight months and 28 nights is one thousand nights and one night. Blending magic and myth, science fiction and fantasy, superhero comic books and classic literature, Salman Rushdie tells us the story of the Two Worlds' War from the perspective of a narrator who lives in a better time, about a thousand and one years from now. The story begins, however, in the distant past.
Dunia, also known as the Lightning Princess, is a jinni. In the twelfth century, Dunia took a human lover named Ibn Rushd, a philosopher-writer-storyteller. She has a thing for philosophers, having also known Aristotle and Plato, but she fell in love with Rushd.
As a philosopher, Rushd is not entirely successful. He considers himself defeated by the philosopher Ghazili, who died before Rushd was born. Ghazili jeered at philosophy because, to his mind, logic and reason have no role in a Universe that is ruled by God's will. Rushd believes in logic and science and even in God but not in religion because "the godly are God's worst advocates." Challenging accepted interpretations of the Qu'ran has caused some trouble for Rushd (including book-burnings and exile) until a Caliph deems him "rehabilitated." Salman Rushdie is plainly having some fun using Rushd as his alter-ego. Rushdie's concerns with religious intolerance (as well as other forms of intolerance) resurface frequently in the story.
Rushd is not good to Dunia or his family. The bastard children he ignores eventually have progeny who disperse to all corners of the globe, including North America, where the story resumes 800 years later. The story sometimes circles back to Rushd who, experiencing a post-death epiphany, enlists Dunia's help to "reunite their scattered family and help it right the coming world cataclysm." It is that quest that animates the book's plot. Dunia's task includes avenging treachery by dark princes of the jinn while fending off a jinn invasion (easier than it sounds, since many jinn are too lazy or horny to bother making the journey through the wormhole).
Dunia's descendants are mostly notable for the absence of earlobes until Dunia awakens their powers. Key characters include Geronimo Manezes (a gardener who is afflicted with a worsening case of levitation, a condition he equates with "a previously unknown virus: a gravity bug"); a baby who exposes corrupt politicians; Teresa Saca, a young woman who electrocutes men with lighting from her fingertips; and Jinendra "Jimmy" Kapoor, a young artist who seems to bring his Indian superhero to life before learning that a "dark jinni" has been unleashed on the world.
The stories that Scheherazade told taught lessons. I'm not sure that Rushdie's updated version teaches lessons so much as it satirizes the lessons that others teach. Rushdie lampoons philosophy and its "more tedious cousin" theology, particularly the notions that "only fear will move sinful Man towards God" and the countervailing view that "with the passage of time human beings will turn from faith to reason, in spite of all the inadequacies of the rational mind." Perhaps one lesson to take from the novel is Rushdie's observation that modern life moves so quickly that we have forgotten the pleasure of lingering (and no longer have the attention spans that slowly unfolding pleasures command). Another might lie in a character's realization that the illusion of reality is preferable to a known fantasy. And another is that using fear (of government or God) to control behavior is bound to lead to oppression. And another: "rage destroys the enraged." Of course, the virtue of tolerance and of preserving free thought by separating church and state is always a good lesson.
If the lessons are a bit heavy-handed, if some of Rusdie's targets are easy, that seems a natural product of satire. While satire is fun, it also makes the story seem less substantial. My only other quarrel with Two Years is that some moments in the story are a bit too silly, but those moments are few.
Well into the novel, a character from the future explains that "to tell a story about the past is to tell a story about the present" and "to recount a fantasy" is to recount "a tale about the actual." Stories from the past, including myths, help us explore how we got there from here. I'm not sure Rushdie's novel accomplishes those goals, but the story is entertaining and, not surprisingly, it is enlivened by Rushdie's rich prose.
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