ABSTRACT

Salman Rushdie, from his earliest book to his latest novel, writes in an exilic spirit that encompasses a multicultural, poly-religious, and pan-global identity. Particularly in two novels published 12 years apart, Shalimar the Clown (2005) and The Golden House (2017), this undying exilic vein issues through metaphor and figure of speech to enrich a perspective of belonging and exile. In Rushdie’s work, through their dazzling originality, the tropes of metaphor transform exile into an art form both transcendent and disturbing.