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geoff.wichert, June 21, 2008

Modern physicists explain the multitude of dimensions in their theoretical models by postulating directions lying not beyond the three we know, the way mere length is compounded into area and area is compounded into volume, but rather as interior dimensions lying folded within those three. So post-modernist Salman Rushdie creates a narrative in which scenes and events are so richly imagined and depicted in such detail that the eye turns inward from the whole tapestry to relish the weaving and eventually to take delight in the crafting of individual yarns. The Enchantress of Florence challenges readers not to become so intoxicated and bewitched by lush details that they lose sight of the overall narrative. Rushdie commits all the postmodern sins: mixing fact and fiction, misrepresenting historical persons and events, and forging fiction that cannot violate, and hence cannot transcend the events into which he interpolates it. Some critics have complained that this is not Rushdie’s deepest story, but they may mean only that this is not his most difficult prose. Instead, this historical novel is one of his most approachable, and among the wonders it creates in the reader’s mind are genuine and important allegorical insights into the humanity common to all peoples and times.

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