78 pages • 2 hours read
Salman RushdieA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
A boy named Haroun Khalifa lives with his parents—Rashid and Soraya—in the country of Alifbay. They live in a city that is so sad that it has forgotten its own name. It is always raining, and there are factories that are rumored to make sadness.
Rashid Khalifa is a famous storyteller who has two nicknames: Rashid the Ocean of Notions, and the Shah of Blah, to his detractors. Haroun’s mother, Soraya, is a kind woman who loves to sing. However, one day she stops singing. Rashid doesn’t notice. He travels frequently and can be oblivious to what is happening in his home. Haroun is amazed at how many stories Rashid knows. When he asks Rashid where they come from, his father says they come from the “Story Sea.”
A man named Mr. Sengupta lives above them with his wife, Oneeta. Mr. Sengupta asks what is the point of stories that aren’t true. Politicians often use Rashid to help tell stories for their campaigns.
Soraya runs off with Mr. Sengupta, who lives above them with his wife, Oneeta. After the betrayal, Rashid breaks all the clocks in the house. Soraya’s note says that Rashid’s head is too filled with make-believe. Haroun tells Rashid that the stories are pointless if they’re not true. Shortly afterward, Rashid stands before an audience and, for the first time, can’t think of a story.
Haroun soon realizes that he can’t pay attention for more than 11 minutes. After 11 minutes, his focus vanishes. He realizes that his mother left at 11 o’clock, and now he worries that he won’t recover his focus until she returns.
Rashid receives an invitation to speak in the Town of G in the Valley of K. There is a lake called the Interesting Lake. Two men meet them in the town of G. At a political rally, Rashid cannot speak. The two men tell Rashid that they will cut out his tongue if he does not perform better in the Valley of K. Haroun thinks that everything is his fault because he asked the point of stories that aren’t true.
The two men take Haroun and Rashid to the bus depot, where there are too many waiting passengers and not enough buses. He meets a large man with hair that reminds Haroun of feathers. The man’s name is Butt, and he is the driver of the mail coach to the Valley of K. Haroun gets them a seat on the mail coach, and they ascend into the Mountains of M. Mr. Butt points out the sites of various bus accidents. He hurries because he wants Haroun to see the sunset from the top of the Valley of K.
As they ride, Rashid tells Haroun about an evil being named Khattam-Shud, who is the “Arch-Enemy of all stories, even of Language itself” (39). His name literally means “The End.”
They reach a town called Kosh-Mar. Kosh-Mar was the former name of the Valley of K. Rashid says that in an older language, Kosh-Mar meant “nightmare.” When they disembark at the bus station, they meet a man who introduces himself as Mr. Buttoo. Along with 101 soldiers, Mr. Buttoo walks with them to the shore of what he calls The Dull Lake, where they board a boat shaped like a swan. Mr. Buttoo flatters Rashid, but Haroun can tell that he is patronizing and insulting his father, even if Rashid doesn’t notice. Haroun believes he sees odd currents in the water, crisscrossing each other in unpredictable patterns. Then a dark mist appears, and Haroun can’t see anything.
Haroun smells what he believes is unhappiness in the air. He calls the mist a “Mist of Misery” (47). As the water grows turbulent, Haroun realizes that they are in what Rashid has always called the Moody Land. The Moody Land is one of Rashid’s favorite stories. In the Moody Land, the water and earth react to the peoples’ moods. Mists and earthquakes were often the result of people’s agitation. However, when Haroun asks his father if they are in the Moody Land, Rashid sadly tells him that it was only a story.
A hot wind blows over them, and the smell worsens. Haroun shouts for silence. Once everyone is quiet, the water and wind grow calm, but the smell remains. Rashid is impressed with Haroun’s cleverness at realizing that the shouting and anxiety of the oarsmen had been causing the wind and the turbulence.
They arrive at a houseboat called Arabian Nights Plus One. The boat’s windows are shaped like famous, mythical animals from stories like Sinbad the Sailor. There is a library on board, which contains a collection of stories that Mr. Buttoo calls “The Ocean of the Streams of Story” (51).
Later, Haroun can’t sleep as his father paces in an adjoining room. They exchange rooms to see if a change will help Rashid calm down. After the switch, Haroun falls asleep. Moments later, a Water Genie named Iff enters his room. Iff drops a wrench that he is carrying, and Haroun picks it up. Iff explains that it is not a wrench, but a tool called The Disconnector. Haroun examines the tool and sees that it is filled with beautiful liquids.
Iff tells Haroun that The Disconnector is what Rashid used to subscribe to services of the “Great Story Sea” (57). He says Rashid has canceled his subscription by means of P2C2E, or A Process Too Difficult to Explain.” If Haroun wants to challenge the cancellation, he must take it to the comptroller or write a letter to a man whom Iff calls The Walrus. He says without the water, Rashid will still be able to tell stories, but not as a specialist. His stories will be ordinary. Haroun asks Iff to take him to Gup City so that he can speak with the walrus.
Without explaining why, Iff asks Haroun to pick a bird. Iff opens his hand and shows Haroun the tiny birds walking on his palm, along with other mythical creatures. Haroun chooses a bird called the Hoopoe. Iff says the Hoopoe, in stories, leads other birds to their goal. He throws the small bird out the window, where it quickly grows large enough for Haroun and Iff to ride it.
As the Hoopoe flies them high into the sky, Haroun realizes that it is a machine. When it speaks to Haroun, the Hoopoe has the same voice as Mr. Butt from the mail coach. It asks Haroun to call him Butt.
They reach the north of Kahani. Butt says that Kahani is one of earth’s two moons. Kahani has never been detected by scientists because it moves too fast for their instruments to track.
They descend to the surface of the Ocean of the Streams of Story. They are in the Deep North of Kahani, with no land in sight. Butt says they must look for Wishwater, which will provide a shortcut. Iff gives Haroun a bottle and tells him to fill it from a bright pool of water. He says that if Haroun drinks it, it will fix his problems. Haroun drinks the Wishwater and feels it glow inside him. He imagines his parents’ faces. He wishes for his mother’s return and his father’s happiness, but after 11 minutes, his concentration ends, and he can’t keep his parents in his mind.
Iff tells Haroun about the Ocean of the Streams of Story, which has 1,001 different currents. He describes it as “the biggest library in the universe” (72), containing all stories. Haroun fills a cup and drinks what he believes will be a story.
He is suddenly standing on a chessboard. Every square contains a monster. He realizes that he is looking through the eyes of a hero in what he thinks of as a Princess Rescue Story. He sees a princess in a tower, but as he goes to help her, he begins changing into a spider. The princess saws through one of his limbs as he climbs, causing him to fall.
Haroun regains consciousness in the boat and tells Iff the story. The Water Genie says that the Ocean is being polluted with filth. He believes that the story is an omen of war with the land of Chup and the “Dark Side of Kahani” (75) and its ruler, Khattam-Shud, is the “Cultmaster of Bezaban” (75).
By attaching the abstract concepts of stories and storytelling to the concrete image of a sea and stream, Rushdie creates a fairytale-like atmosphere for the foundation of his fable. Haroun’s question—“What’s the use of stories that aren’t even true?” (20)—underwrites the entirety of Haroun and the Sea of Stories and identifies the moral of the story. If fictional stories have no meaning because they are invented, then that throws into question the meaning of Rashid’s life, as well as Rushdie’s. The events of Haroun suggest that people would not enjoy or even crave stories if they did not serve some purpose or fulfill a need, which is the moral of Rushdie’s story: Stories have a purpose.
Mr. Butt tells Haroun, “O, Need’s a funny fish: it makes people untruthful. They all suffer from it, but they will not always admit” (36). Applied to the necessity of storytelling, his comment reinforces the book’s theme of fiction’s usefulness. Someone like Mr. Sengupta could never admit to enjoying fiction, let alone needing it, but the events of Haroun depend on the idea that stories are important to everyone, even if they don’t know it or can’t admit it.
The creative imagination itself is cause for mockery by Mr. Sengupta. When Soraya leaves Rashid, her note says: “You are only interested in pleasure, but a proper man would know that life is a serious business. Your brain is full of make-believe, so there is no room in it for facts. Mr. Sengupta has no imagination at all. This is okay by me” (21). Her letter characterizes Rashid as an unserious man and implies that a person’s brain cannot accommodate both facts and fiction. She celebrates Mr. Sengupta’s lack of imagination as a virtue. However, the loss of stories is instrumental to Khattam-Shud’s plan. In the absence of stories, creativity, and imagination, his people cannot rebel or dissent.
Rushdie uses the character Butt to define the nature of stories and storytellers in this section. Butt the Hoopoe first makes it clear that storytellers are not required to be ethical:
‘Anybody can tell stories,’ Iff replied. ‘Liars, and cheats, and crooks, for example. But for stories with that Extra Ingredient, ah, for those, even the best storytellers need the Story Waters. Storytelling needs fuel, just like a car; and if you don’t have the Water, you just run out of Steam’ (58).
Politicians use Rashid’s gift to influence their constituents. Here, Butt references that politicians are infamous for twisting words and making promises they never intend to keep. Mr. Butt says, “A figure of speech is a shifty thing; it can be twisted or it can be straight” (33). Stories convey literal truths through invented events, but anything that can be left open to interpretation can be exploited or distorted, such as a figure of speech. This moment gestures at Rushdie’s reason for writing the novel—as a rebuttal to the ayatollah, a religious and political figure who attempted to censor Rushdie and others through legal and violent means. Rushdie points out that politicians also spin yarns under the guise of speaking the truth. In this way, Khattam-Shud is a stand-in for the ayatollah who intends to silence Rushdie’s stories in reality.
Speech is not the only unreliable medium of communication or data collection. Iff tells Haroun, “Believe in your own eyes and you’ll get into a lot of trouble, hot water, a mess” (63). Throughout the story, Haroun finds himself in many situations where he isn’t sure whether he can trust—or understand to a certainty—what he is hearing, or what he is seeing, as everything in the land of Kahani has a dreamlike quality, contributing to the novel’s magical realism.
When Haroun arrives in Kahani, it is the first time he is in a place with a defined name. His own city has forgotten its name, which suggests that the people there have forgotten their origins and who they are—a possible indication of Rushdie’s feelings about his homeland. The glum atmosphere also serves as a contrast for storytelling, which the story upholds as colorful and exciting. The lack of stories, which has become a problem with the loss of Rashid’s gift, leaves the landscape dull and forgettable.
Additionally, the mountains and valleys seen thus far in the story are known only by their first letters. Iff explains to Haroun that his journey will be one of exploring his own identity—and the fate of his city—through the convention of naming: “To give a thing a name, a label, a handle; to rescue it from anonymity, to pluck it out of the Place of Namelessness, in short to identify it—well, that’s a way of bringing the said thing into being” (63). The first four chapters of the novel lay the groundwork for the remainder of the novel, which largely focuses on rescuing the art of storytelling, preserving freedom of speech, and bringing the people of Chup out of bondage to Khattam-Shud.
By Salman Rushdie
Allegories of Modern Life
View Collection
Appearance Versus Reality
View Collection
Asian History
View Collection
Books & Literature
View Collection
Common Reads: Freshman Year Reading
View Collection
Indian Literature
View Collection
Juvenile Literature
View Collection
Magical Realism
View Collection
Popular Book Club Picks
View Collection