Taking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie's work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie's work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.
Ainsi débute cette fable : un jeune garçon nommé Haroun, désolé de constater que son père, conteur de son état, a perdu son inspiration, entreprend un long voyage à travers une contrée merveilleuse. Son ambition est de retrouver la source vive où naissent les histoires. En chemin, il rencontre des créatures fabuleuses et inquiétantes - dont certaines, ennemies de l'imagination, entendent étouffer à jamais le pouvoir des créateurs…
Few writers living or dead have received the monumental acclaim that has been accorded to Salman Rushdie for his richly textured, superbly crafted works. The Enchantress of Florence once again demonstrates the author's unparalleled mastery of his craft.
In the imperial capital of the Mughal Empire, a traveler arrives at the court of Emperor Akbar. The traveler, Mogor dell'Amore, has a tale to tell, and as the words flow out of him, the tale's rich tapestry of power and desire begins to take on a life of its own. Fueled by the urgency of his narrative and its growing effect on his audience, the traveler paints a vivid portrait of faraway Florence, a beautiful enchantress, and the infamous figure of Niccolò Machiavelli.