In Salman Rushdie’s novels, images are invested with the power to manipulate the plotline, to stipulate actions from the characters, to have sway over them, seduce them, or even lead them astray. Salman Rushdie and Visual Culture sheds light on this largely unremarked – even if central – dimension of the work of a major contemporary writer. This collection brings together, for the first time and into a coherent whole, research on the extensive interplay between the visible and the readable in Rushdie’s fiction, from one of the earliest novels – Midnight’s Children (1981) – to his latest – The Enchantress of Florence (2008).

chapter 2|20 pages

Merely Connect

Salman Rushdie and Tom Phillips
ByAndrew Teverson

chapter 3|18 pages

Beyond the Visible

Secularism and Postcolonial Modernity in Salman Rushdie's The Moor's Last Sigh, Jamelie Hassan's Trilogy, and Anish Kapoor's Blood Relations1
ByStephen Morton

chapter 4|20 pages

Living Art

Artistic and Intertextual Re-envisionings of the Urban Trope in The Moor's Last Sigh
ByVassilena Parashkevova

chapter 5|17 pages

In Search for Lost Portraits

The Lost Portrait and The Moor's Last Sigh
ByJoel Kuortti

chapter 6|19 pages

Paint, Patronage, Power, and the Translator's Visibility

ByJenni Ramone

chapter 7|17 pages

Show and Tell

Midnight's Children and The Boyhood of Raleigh Revisited
ByNeil ten Kortenaar

chapter 8|16 pages

“Nobody from Bombay should be without a basic film vocabulary”

Midnight's Children and the Visual Culture of Indian Popular Cinema
ByFlorian Stadtler

chapter 9|19 pages

Visual Technologies in Rushdie's Fiction

Envisioning the Present in the ‘Imagological Age'
ByCristina Sandru

chapter 10|24 pages


Refracting the Postcolonial Cityscape in The Ground Beneath Her Feet
ByAna Cristina Mendes

chapter 11|20 pages

Screening the Novel, the Novel as Screen

The Aesthetics of the Visual in Fury
ByMadelena Gonzalez

chapter 12|20 pages

Media Competition and Visual Displeasure in Salman Rushdie's Fiction

ByMita Banerjee