Trying to meet all your book preview and review needs. (Apr.The Ground beneath her Feet - Salman Rushdie Rights sold in Brazil, Canada, Denmark, France, Germany, Greece, Hungary, Italy, the Netherlands, Norway, Spain, Sweden and the U.K. While not one of his masterpieces, this flawed giant is a spirited, head-spinning entertainment from a writer of undeniable genius. Despite many comic and dazzling passages, the hyperbole, the scrambled allusions and the parallel universes eventually become wearying. The reader slowly discovers that the novel is set in a universe parallel to our own, and the characters catch glimpses of an alternate reality that looks more like our actual world. History is scrambled, too: Watergate turns out to be nothing more than a pulp thriller. Rock and roll inspires endless fun, as Rushdie sprinkles lyrics into his narrative, and scrambles pop music names and history-Elvis Presley becomes Jesse Garon Parker, for instance.
Rai's work as photographer underwrites meditations on 20th-century art and journalism. And this is only the heart of a plot whose action moves from Bombay to London to Manhattan. Ultimately, Ormus and Vina reenact the Orpheus myth, not once but twice. While he swears chastity for a decade, Vina tests their commitment with a string of other lovers, of whom only Rai is kept secret.
At first Vina is underage, and Ormus swears not to touch her until she turns 16 then, after one night of love, she disappears for a decade, returning only to rescue Ormus from a near fatal coma. Narrator Rai Merchant, their lifelong friend, is a world-famous photographer and Vina's ""backdoor man."" Rai tells the story of their great, abiding love (both are named for love gods: Cama as in Kama Sutra, and Vina for Venus), which thrives on obstacles.
Ormus Cama, a supernaturally gifted musician, and his beloved, Vina Apsara, a half-Indian woman with a soul-thrilling voice, meet in Bombay in the late '50s, discover rock and roll, and form a band that goes on to become the world's most popular musical act. Time and space, understood conventionally, have never been enough for Rushdie's antic imagination, and here he needs two parallel universes to contain this playful, highly allusive journey through the last 40 years of pop culture.
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