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Condition: Used: Very Good
Comment: A well-cared-for item that has seen limited use but remains in great condition. The item is complete, unmarked, and undamaged, but may show some limited signs of wear. Item works perfectly. Pages and dust cover are intact and not marred by notes or highlighting. The spine is undamaged.
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The Moor's Last Sigh Paperback – January 14, 1997

4.1 out of 5 stars 105 customer reviews

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Editorial Reviews

Amazon.com Review

In The Moor's Last Sigh Salman Rushdie revisits some of the same ground he covered in his greatest novel, Midnight's Children. This book is narrated by Moraes Zogoiby, aka Moor, who speaks to us from a grave in Spain. Like Moor, Rushdie knows about a life spent in banishment from normal society--Rushdie because of the death sentence that followed The Satanic Verses, Moor because he ages at twice the rate of normal humans. Yet Moor's story of travail is bigger than Rushdie's; it encompasses a grand struggle between good and evil while Moor himself stands as allegory for Rushdie's home country of India. Filled with wordplay and ripe with humor, it is an epic work. --This text refers to the Hardcover edition.

From Publishers Weekly

This saga of a family whose history is interwoven with that of modern India, Rushdie's first adult novel in seven years, won England's 1995 Whitbread award.
Copyright 1996 Reed Business Information, Inc.
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Product Details

  • Paperback: 448 pages
  • Publisher: Vintage; Reprint edition (January 14, 1997)
  • Language: English
  • ISBN-10: 0679744665
  • ISBN-13: 978-0679744665
  • Product Dimensions: 5.2 x 0.9 x 8 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (105 customer reviews)
  • Amazon Best Sellers Rank: #230,488 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

Format: Paperback
In a careful and calculated manner, The Moor's Last Sigh leaps across four generations of a rich and demented Indian family, weaving an exquisitely-crafted tapestry of murder and suicide, atheism and asceticism, affection and adultery.
The first person narrator of this cynical yet mischievous book is Moraes Zogoiby, aka "Moor," who, seemingly unaffected by his asthma, spins his tale sitting atop a tombstone within sight of the Alhambra in Spain and pursued by a policeman named--like the holy city of Islam--Medina.
The centerpiece of this captivating and gorgeous novel is Moor's highly dysfunctional family, a Grand Guignol of good and evil, the deformations of the spirit wrought by love withered or love withheld and the beauty and violence of art, all representative of the tortured history of twentieth century India.
Moor, himself, is the champion of miscegenation and cultural melange, bastards and cross-breeds. Standing six and one-half feet tall, Moor has a withered right hand and, like India, he grows too fast, twice the rate of a normal human being. A thirty-six year old elderly man, still in love with a deceitful (and deceased) woman, Moor exhibits the body of a none-too-healthy seventy-two year old. His bloodline, too, is as crowded and diverse as India, herself.
Moor is the son of Abraham Zogoiby, a South Indian Jew who is probably the illegitimate descendant of Boabdil, the last Muslim Sultan of Granada and the celebrated artist, Aurora da Gama, a Christian claiming descent from the Portuguese navigator Vasco da Gama.
Abraham and Aurora's love first carries them to the dizzying, hyperbolic heights of fame and power, then plunges them into depths reminiscent of Lucifer's expulsion from Paradise.
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Format: Paperback
The prologue to this brilliant book opens "in this dark wood . . . in what ought to be the middle pathway of my life." The reference to Dante is but one of a number of literary allusions crammed into almost every densely-textured page, but it turns out to provide a key to the curious structure of this ambitious work, which is basically a violent family saga with the even more violent birth-pangs of modern India as its background.

Rather than starting in the Inferno, the book quickly rises to a sort of Paradise, and holds the reader there, enthralled, for the first two-thirds its length. Rushdie's fictional Gama-Zogoiby family mingles ancient bloodlines--Portugese, Moorish, Jewish, Hindu--and they come together in a sort of nuclear fusion. He writes in language at once false and true, brighter than Technicolor, spiced with pepper and coriander, erotic, witty, wildly inventive, and rich with more references than this reader can count.

In its last third, however, the book somewhat loses its élan. First, it plunges its eponymous hero into the Bombay underworld as a kind of living Hell. Then, in the deceptively simple writing of its final section, it uproots him from India and wafts him to a surreal vision of an Andalusian village overrun by expatriates, to end in a stateless Purgatory. It is an unusual journey for this modern Dante, but (as others have commented) it may reflect the author's own life since his exile. One feels his grief for India, his lost Eden.

Rushdie's title, besides being a multilingual pun (dernier soupir / last supper), is the name of a painting by the hero's mother, a famous artist.
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Format: Paperback
After the Midnight Children, I was a little reluctant to buy another Rushie book, fearing I will be disappointed. However, The Moor's Last Sigh is as magical as the first one I read. Rushdie once again takes the point of view of an extraordinary individual, from an extraordinary family to look at the world, India and the small circle of the narrator's family and freinds. This unusual perspective, however, instead of alianating the reader, brings him/her closer and provdes us with a clearer understanding of the grand, as well as the ordinary.
A powerful mixture of tragedy and comedy.
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By MSR on August 25, 2005
Format: Paperback
This is an epic read; it is long and involved and generational. Dozens of characters weave in and out of the story as it paints a picture of their perspective on life- the one they all seem to share. It's well framed by one of them who explains to the young Moor: "D= MC squared where D is for dynasty m is for mass of relatives and C, of course is for corruption, which is the only constant in the world".

The Moor, the one from the title, seems to be the only character with perhaps a different idea of life. But as he tells the story of his life he never does much rather than navigate the waves created by those around him. His world is a duplicitous one in which those who love you hurt you the most; your biggest weight is your liberator; in which your lover might be your murderer and your best friend eventually your enslaver.

This is one of the most magical novels I've read in a while. I like that about it, a lot. In many instances Rushdie creates his own words as he creates his own worlds. The story has great moments; sort of like movies have great scenes... so many memorable lines that offer up that perspective on life.. the one practiced by many of those that surround the Last Moor throughout his life. I'll use those to wrap this up. I think it gives a good idea of the mood of the book (which I think is the point of the book... the actual story is too intertwined and loosely held together to explain).

"Abraham Zoigby was assaulted by fear... a sudden terrible apprehension that the ugliness of life might defeat its beauty; that love did not make lovers invulnerable".....

"Rejoice in what gives you grief. That which you would flee, turn and run towards it with all your heart. Only by becoming your misfortune will you harness it."......
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