A book review that I wrote so many years ago, in what was almost another lifetime…was delighted to see it as the top review against the book in Amazon
Literature often transcends pre-set boundaries of category or genre. Prime examples include the chronicles of Alice and Gulliver originally conceived to satirise society and later metamorphosed into children’s classics, and more recently the popularity of the Harry Potter novels among adult readers. ‘Haroun and the sea of stories’ could be placed in a similar category. It can be read as a fairy tale or as a satire that addresses everyday problems, narrates social conditions and broaches political issues. Regarded by readers and critics alike as one of the master storytellers of the present day literary world, it is not surprising that Mr.Rushdie has conjured up a fantasy based on the world or rather the ocean of stories, named after the ancient Indian treatise Kathasaritsagar.
The protagonist Haroun Khalifa is a young boy who leads a happy middle-class life distinct from the rich, poor, `super-rich’ and `super-poor’ people inhabiting a nameless sad city. Haroun’s father Rashid Khalifa is a famous storyteller – the Shah of Blah with fabled oceans of notions, who often refers to the streams of story water he drinks to keep up the supply of wondrous tales that pour forth from within him. Haroun takes this as an eccentric statement by his father and soon discovers that the ocean of stories indeed exists and that only he could save it from total annihilation.
Haroun’s world is suddenly taken apart when his mother elopes with their neighbour Mr.Sengupta, a mean clerk who had forever questioned the significance of Rashid’s tales (‘What’s the use of stories that are not even true?’) and Rashid loses his gift to spin wondrous yarns. When Rashid is summoned by a politician to campaign through his stories in the Valley of K, the two decide to risk taking the trip which turns out to be both hilarious and fascinating.
On board a peacock-shaped houseboat on the ‘Dull Lake’, Haroun discovers to his surprise and horror that his father is going to cancel his subscription to the streams of the Story Ocean. After a squabble with the water genie Iff who has come to disconnect the story tap, Haroun manages to get a ride on the machine-hoopoe Butt to Kahani, the second moon of the earth that contains the ocean of stories.
Kahani also contains two diametrically opposite worlds, the land of Gup characterised by perpetual light inhabited by the Guppies who love to talk, and the land of Chup that is permanently dark and cold and is home to the Chupwallas who worship Bezaban, the prince of silence. The Guppies and the Chupwallas are mortal enemies, and when Haroun lands on Kahani, there is a terrible crisis looming on Gup – The cult master of Chup, Khattam-Shud has kidnapped the Guppie princess Batcheat intending to sacrifice her to Bezaban and worse, has started polluting the story-ocean to destroy it completely. Accompanied by Iff, Butt, Mali the floating gardener and a pair of loopy fishes called Goopy and Bagha, Haroun sets forth to save the ocean. The rest of the story deals with how he succeeds in this endeavour and is rewarded with a ‘synthesized’ happy ending courtesy P2C2E (Processes Too Complicated To be Explained).
The text sparkles with witticisms concealing thoughts, and thoughts that evoke spontaneous laughter. There is a lot of wordplay as can be expected from a Rushdie novel. The dialogues are characteristic of Mr. Rushdie’s works, with the characters speaking peculiar dialects of Indianised English – Oneeta Sengupta’s consoling words to the Khalifas, the conversation of Butt/Buttoo, the rhyming banter of Goopy and Bagha, the foolish babble of Prince Bolo, the songs of Mali and the petty quarrels between the mud-men and mud-women in Buttoo’s bus are sure to evoke laughter in even the most curmudgeonly reader. A beautiful passage describing the dance of the shadow warrior Mudra who speaks through gestures (Abhinaya) conveys that duality exists even in Kahani, and that creatures of silence and darkness could be as charming as the children of light and speech. So is the abstraction describing how emotions influence the atmosphere, with miserable thoughts causing the atmosphere to stink and brighter ones clearing out the smog. The ridiculous antics of silly Prince Bolo to save Princess Batcheat seem justifiable when he is described as being just like love – dashing, gallant and a little foolish.
Above all these, the main theme of the book is brought forth implicitly – That story-tellers cannot be silenced, and the ocean of stories would continue to surge with its many threads mixing and intermingling perpetually to generate fresh stories that would keep flowing. Looking a little deeper, it conveys that the magic of fiction has the power to soothe, restore, edify and sustain the harried, quotidian protagonists of everyday life.