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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.
Sufiya is the daughter of Bilquis and Raza Hyder. The narrator provides details of Bilquis’s childhood, particularly during the era when Pakistan was being partitioned from India by the British Empire. When she is very young, Bilquis convinces herself that she would be treated like an empress. One day, at the theater of her father, Mahmoud, she sees a group of people protesting the screening of a film they deem blasphemous. Despite their anger, Mahmoud refuses to cancel the screenings because of “this partition foolishness” (62). Someone bombs the cinema, killing Bilquis’s father. Traumatized, Bilquis wanders through the streets. The clothes have burned away from her body, and her eyebrows are permanently burned away. She wanders into a fortress where many of the local Muslim population had gathered ahead of the partition. A young military officer named Raza approaches her and wraps his officer’s coat around her. Raza is an ambitious and religious young man. He and Bilquis become betrothed, and over the course of her life, Bilquis associates the hot wind that was blowing on the day of the bombing with bad fortune. This wind is called the Loo, and she becomes intensely scared whenever she feels it blow, as it reminds her of the bomb that killed her father.
The narrator thinks about the type of novel he is writing. His sister is a 22-year-old engineering student at a university in Pakistan. The narrator has only met his sister on nine occasions, just as he has only ever experienced Pakistan during short intervals. To him, her daily experience of Pakistan is much more authentic than the country he is describing in his work. He chooses instead to write about a more fragmentary, almost magical version of Pakistan that is slightly removed from reality. His aim is to write a “modern fairy tale” (70).
Bilquis talks to a woman named Rani Humayun, who is engaged to marry Iskander Harappa. They live together in a large home in Karachi alongside many women, under the careful eye of a matriarch named Bariamma. Each night, the husbands of the women enter the room and have sex with their wives. The women live in this traditional arrangement due to the partition and the ongoing violence. Bilquis feels under pressure to give her husband a son, but their living arrangements make things difficult. She listens to Bariamma recount the family’s various tragedies, not yet knowing that the story of herself and her husband will one day be the most scandalous tragedy of all. Because of the violence as both India and Pakistan fight for dominance in Kashmir, Rani is denied the wedding of her dreams. During this time, Bilquis learns that she is pregnant. She shares her news with Raza, who is delighted. Bilquis tells Rani and Iskander that her unborn child will be a boy destined to marry their daughter. Meanwhile, Raza wins fame for a small but significant military victory and is quickly promoted. At the same time, Iskander is an up-and-coming politician who is known to be sexually attractive. He is friends with Omar Khayyam Shakil, and the two men have a reputation for debauchery. People say that Omar seems to be “entirely without shame” (81). During this time, Karachi grows a great deal because the political situation in Pakistan, coupled with a wave of immigration, massively increases the population. Bilquis’s baby is stillborn, and the tragedy drives Raza and Bilquis to quickly try for another child.
In a philosophical interjection, the narrator dismisses traditional notions that people can have roots in a specific geographical location. Continuing an earlier idea, the narrator explores the notion that the version of Pakistan in the story is both real and unreal at the same time and names the novel’s version of Pakistan “Peccavistan,” after the Latin word “Peccavi,” meaning “I have sinned.”
Rani gives birth to a daughter. Feeling unable to conceive while living with Raza’s extended family, Bilquis decides to move out. She and Raza live in military housing, where she conceives and gives birth to a tiny baby girl. Raza is furious that Bilquis gives birth to a girl rather than the boy who might have married Iskander’s daughter in the future. Bilquis names the child Sufiya Zenobia. The narrator reveals that Sufiya will be the story’s heroine. Raza is enraged, demanding that he speak to a supervisor at the hospital. He shouts at the doctor on duty and gives the baby Sufiya a strong poke with his finger. Sufiya seems to blush, suggesting that she is ashamed to have been born the “wrong sex.” The narrator says that Sufiya is born with a sense of shame.
The narrator tells an old folk story in which a frog croaks in a well and is frightened by the echo. When large gas fields are discovered in the district of Q., Raza is tasked with quashing the local agitators who resist the government’s attempts to extract the gas. Bilquis and Sufiya travel with him, though both Raza and Bilquis ignore their intensifying marital tension. Meanwhile, Rani resents the servants and relations in Iskander’s house. She does not like that her husband is spending so much time with Omar, as both Iskander and Omar have a reputation for drinking and adultery. One day, Iskander’s cousin, Little Mir Harappa, visits Rani. He has his men ransack her home and take many valuable items as revenge. Little Mir explains that Iskander had sex with a French woman whom he was attempting to woo.
Rani and Bilquis often talk on the telephone. Bilquis shares the gossip about Rani’s problems. In Q., Raza meets Maulana Dawood, the same holy man who was accidentally draped in a necklace of shoes on the day when Omar first emerged from Nishapur. Maulana tells Raza which local officials can be trusted and which are corrupt. He encourages Raza to use prayer rather than violence to achieve his goal of protecting the gas fields. During this time, Sufiya catches a dangerous fever that results in an intellectual disability. Expensive medicines are used to return her to good health, but the doctors fear that there may be lasting mental conditions caused by the illness. Bilquis feels ashamed, believing that she is being punished for her infidelity, as she may have cheated on Raza with the owner of a local cinema. Meanwhile, Raza succeeds in his mission to protect the gas fields by employing violent means and ignoring the law. When Raza returns home, the news of his child’s possible mental condition upsets him deeply. He has the owner of the local cinema killed. Though Raza and Iskander are friends, they argue about a woman named Atiyah Aurangzeb (also known as Pinkie). In the future, Pinkie will become Iskander’s mistress. The men cannot resolve their differences and they sever all connections after a very public argument. During this time, Bilquis gives birth to a second child. She names the girl Naveed but nicknames her “Good News.” The birth affects her physically, and she is unable to get pregnant again.
While Part 1 of Shame establishes Omar’s character, Part 2 takes a broader look at the emergence of Iskander and Raza as competing political figures of their country. Whereas Omar’s relationship to Shame Versus Shamelessness is personal, Raza and Iskander function more as historical allegories. Their shame is the shame the narrator perceives to belong to the country of Pakistan as a whole; their actions and their failures are intricately tied to their country. Much like Omar, however, Raza and Iskander are members of the social elite, and it soon becomes evident that although the narrator seeks to describe and define the emerging nation of Pakistan, those whose stories are told are almost exclusively the wealthiest and the most powerful. The shame of these wealthy men and the shameful nature of their actions propels the narrative forward, just as it propels forward the nascent history of the nation of Pakistan. Thus, the story introduces the theme of Partition and Duality for the first time.
As his modern-day fairy tale gains scope and momentum, the true complexity of Rushdie’s undertaking becomes apparent, for it is exceedingly difficult to represent an entire country through the actions of just a few people. Even the narrator admits that distilling a nation of tens of millions of people into a single story is impossible, so a deliberate decision is made to condense this complex narrative into a more literary form. It is important to note that the narrator repeatedly insists that the country in Shame is not Pakistan but is instead a fictionalized version of it: a literary and figurative interpretation of a complicated country that seeks to function as a modern fairy tale. This balance between simplicity and complexity, modernity and tradition, shame and shamelessness, is an extension of the ongoing theme of Partition and Duality that pervades the novel. Pakistan itself emerges as a product of division, with the partition separating India from Pakistan but bringing together Raza and Bilquis. Ironically, their union is a result of this division, and thus their relationship functions as a mirror: a marriage that paradoxically reflects the national “divorce” that has taken place. Furthermore, the narrator explores the duality of his fictionalized Pakistan when he searches for another name for the country in his novel. He suggests Peccavistan, after the Latin word “Peccavi” (88), meaning “I have sinned.” This infusion of Latin—a Western language propagated by the Catholic church—to describe an Eastern country, founded on the basis of its adherence to Islam, is a dualistic irony. The narrator himself does not live in Pakistan. He observes it from afar, noting its dualities and adding dualities and ironies of his own.
In addition to exploring the duality of partition, the narrator does not shy away from describing the violence that this division causes. The partition—imposed on India and Pakistan by the Imperial British Empire—is poorly planned and poorly implemented, and it causes violence even before it is implemented. For example, the cinema owned by Bilquis’s father is bombed due to the political fallout that heralds the imminent arrival of partition. He is killed and Bilquis is severely injured, even though they are not political activists. Such attacks have a lingering effect in people’s minds, and the idea of divisive partitions becomes a recurring motif. Throughout the novel, people are physically, psychologically, and emotionally partitioned, their personal lives coming to echo the national politics. Partition therefore becomes an internalized idea, one which constantly divides people as they come to terms with the reality of the new nation of Pakistan.
By Salman Rushdie
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