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Haroun and the Sea of Stories

In Salmon Rushdie's Haroun and the Sea of Stories, a f*****mous storyteller Rashid Khalifa loses his gift of telling tales after ***** wife leaves him for a man who hates stories. His son Haroun goes to ***** Ocean ***** S*****ries to recover his father's lost powers. Haroun drinks from the ocean, as instructed by ***** Water Genie, but finds out that the ocean of stories is poisoned. When Haroun tries to tell a ple*****ing and ro*****tic story, ***** story suddenly is trans*****med into a nightmare. Haroun finds the source of ***** water's poisoning. He is rewarded for his ingenuity ***** the rightful King ***** Gup, whose land is now freed from the tyrant's grasp. The oppressive tyrant also poisoned the spring from which all stories come. ***** is granted a h*****ppy ending for h***** efforts. "Haroun" is a truly worldly book for, though written in English, it incorporates different dialects and even different languages into the text. The novel draws upon Indian, American, and British idioms and speech, creating a hodgepodge of ***** th*****t animates the characters' dialogue. Snooty Buttoo speaks ***** English when he says, "you will please to provide up-beat sagas only,"(49) whereas Iff uses American idioms, saying "no can do" and "no way, Jose"(59). ***** different dialects do more than give character depth, however, ***** *****y remind us of the number of English dialects, no one of which can properly claim correctness. In "*****," ***** avoids being strictly defined, *****owing a richness of l*****nguage diversity that can serve as a model for story-*****ing: by embracing different versions (in this case, ***** English) one enriches the work and provides a more *****uthentic portrayal of a wide-ranging language" (Acadedemon essay).
Haroun awakes on a houseboat, discovering that his father has ********** his power ***** storytelling once again, and ***** the boy's mother is now restored to him.
Water is a metaphor not only for the ***** and source ***** in ***** novel, but the nature of storytelling in general. All stories, regardless of their culture ***** origin, Rushdie suggests, ***** from the same source or metaphorical ocean. These ***** mingle together in the water and produce more stories. Even ***** name of the King of Gup suggests Guppy, a f*****h th*****t lives in ***** water. It is the genie ***** the water who leads Haroun to reunite h***** family. Water is fluid, un*****, ***** difficult to *****, yet it is also life-giving. This is ***** nature of the glue that holds families and entire societies together, Rushdie *****. When our stories are denied or poisoned w*****h ugliness, we lose not ***** art, ***** the essence ***** life itself. And if we believe in the possibility of ***** hav*****g happy endings, however *****realistic they may seem, there is a chance that our dreams ***** come true.
***** the story, he claims that a big title wave hinder ***** ***** doing what he wanted to do. However, w*****n he accompl*****hed his goal, he claimed ***** title wave was not t*****re at

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Haroun and the Sea of Stories, by Salman Rushdie

Reviewed by James Michael White

If you've read this book, why not Any novel that poses the question, “What’s the use of stories that aren’t even true?” has just cobbled together a pretty big shoe to fill, and Salman Rushdie’s Haroun and the Sea of Stories poses that question early and answers it in a variety of interesting ways both obvious and, more importantly perhaps, inobvious, the latter having to do with something we don’t notice unless it’s missing: Stories are fun, or at least they should be, and this cool whirly-gig of a fantasy is.

Titular Haroun is a boy whose father, Rashid, is a renowned storyteller whom all the local politicos want telling stories for their side, thus assuring their election by his happy audience. In fact, Snooty Buttoo from the Valley of K enlists his aid for just such purpose, but prior to Rashid and Haroun’s arrival, wife and mother to each splits with neighbor, Mr. Sengupta, who posed the chillingly important question.

As a result of her departure, Rashid finds himself bereft of all storytelling powers and Haroun finds himself unable to concentrate on anything beyond eleven minutes, eleven being the hour of said wife and mother’s departure.

Thus anticipating a bad time of it during the next day’s political rally, Rashid and Haroun retire glumly to separate rooms on houseboat floating upon the lake of K, but a switcheroo of beds and rooms lead Haroun to discover the source of pop’s gift of gab, and that it can be recovered, and that he’ll have to go to the moon -- Earth’s second moon, that is -- to do it.

The bulk of the story then takes place on Kahani, the aforementioned and very watery moon, where Haoroun hopes to meet the Walrus to petition for restoration of his father’s gift of gab. While there, he also meets the Eggheads (creators of many things known as P2C2Es, or, “Processes Too Complicated To Explain”), a water Genie named Iff, a mechanical mind-reading Hoopoe bird, a royal page named Blabbermouth, and eventually his own father, Rashid. Together they all become embroiled in a plot to save the precious story waters of the moon which are being poisoned by the Cultmaster Khattam-Shud, a being who has split his shadow from his self and who rules the shadow-side of Kahani and who bears a striking resemblance to someone back home in the real world.

There are other obvious analogues between Haroun’s waking world and its various personages and those on Kahani. The analogues stretch most obviously to the political struggle of which Rashid is a part in the real world and the conflict taking shape on Kahani. Their interplay and resolution have much to say, after all, about the importance of stories that aren’t even true, and demonstrate the oft-talked about but perhaps too-seldom explored matter of fiction’s ability to not merely “mirror” reality, but to expose truth and shape opinion. Or, to paraphrase Stephen King, although life doesn’t support art, art certainly informs and thereby supports life, as ultimately made clear at the end of the novel.

This is not to say that Haroun and the Sea of Stories is strictly a parable. It isn’t. But it does pose an important question and does a bang-up job of keeping us entertained, chuckling and nibbling our nails while artfully making its point, employing language that is as fluid and marvelous as Kahani’s multicolored sea.

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Set in an exotic Eastern landscape peopled by magicians and fantastic talking animals, Salman Rushdie’s classic children’s novel Haroun and the Sea of Stories inhabits the same imaginative space as Gulliver’s Travels, Alice in Wonderland, and The Wizard of Oz. In this captivating adaptation for the stage, Haroun, a 12-year-old boy sets out on an adventure to restore the poisoned source of the sea of stories. On the way, he encounters many foes, all intent on draining the sea of all its storytelling powers.
Winner of the Writers Guild Award
“As eloquent a defense of art as any Renaissance treatise…saturated with the hyperreal color of such classic fantasies as The Wizard of Oz and Alice in Wonderland.”―Publishers Weekly