Rushdie's collection of nine highly postmodern stories probes the differences and connections between East and West, celebrating the hybrid nature of contemporary identity. ---Publisher's Weekly

''Fury'' is the first of Rushdie's novels to be set squarely in New York…Here and in much else, the parallel with the author is deliberate…As [he] tells and retells it, the contemporary world, with New York as its Rome, is corrupted by the voracity and hideous waste of America's hyperthyroid economy. A python swallowing its tail, it has engorged its own culture, arts and values, and gone on to engorge those of everyone else. ---New York Times

Grimus is one of those novels some people will say is too good to be science fiction, even though it contains other universes, dimensional doorways, alien creatures, and more than one madman. . . . A book to be read twice. ---Los Angeles Times

In a contemporary fable filled with riotous verbal pranks, Haroun, who unintentionally stopped time when he froze his father's esteemed storytelling ability, seeks to undo his error on a quest through a magical realm. 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. ---Publisher's Weekly

1992 Writers' Guild Award (Best Children's Book)

An essay on Ayatollah Khomeini's death written to appease Rushdie's critics and to issue an apology in which he seems to reaffirm his respect for Islam; however, Iranian clerics do not retract the fatwa.

1,000 children, born at midnight in the initial hour of India's independence, scratch out a life filled with disasters and triumphs, mirroring the course of modern India. ---Man Booker Prize

1981 Booker Prize for Fiction
1981 English-Speaking Union Award
1981 James Tait Black Memorial Prize (for fiction)
2008 Best of the Booker

"There are few writers who can pull off such an act. But Rushdie defies gravity and dispatches his characters on journeys leading up to the assassination, leading away from the assassination, entertaining and dazzling, but all the while guiding us on an examination of this precarious high wire we find ourselves walking in the 21st century." ---Los Angeles Times

2005 Whitbread Novel Award (shortlist)
2006 Commonwealth Writers Prize (Eurasia Region, Best Book) (shortlist)
2007 International IMPAC Dublin Literary Award (shortlist)

Shame is and is not about Pakistan, that invented, imaginary country, 'a failure of the dreaming mind' . . . Rushdie shows us with what fantasy our sort of history must now be written—if, that is, we are to penetrate it, and perhaps even save it." ---The Guardian

1983 Booker Prize for Fiction (shortlist)
1984 Prix du Meilleur Livre Etranger (France)

"This brilliant, fascinating, generous novel swarms with gorgeous young women both historical and imagined, beautiful queens and irresistible enchantresses, along with some whores and a few quarrelsome old wives -- all stock figures, females perceived solely in relation to the male. Women are never treated unkindly by the author, but they have no autonomous being. (...) But in the end, of course, it is the hand of the master artist, past all explanation, that gives this book its glamour and power, its humour and shock, its verve, its glory. It is a wonderful tale, full of follies and enchantments. East meets west with a clash of cymbals and a burst of fireworks." ---The Guardian

2009 Commonwealth Writers Prize (Eurasia Region, Best Book) (shortlist)

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. ---Publisher's Weekly

“I did not go to Nicaragua intending to write a book, or, indeed, to write at all: but my encounter with the place affected me so deeply that in the end I had no choice.” ---Salman Rushdie

The Moor’s Last Sigh is a novel about modern India….If Rushdie’s Satanic Verses outraged the dour literalists within Islam, then The Moor’s Last Sigh will anger the fascist-populist element within Hindu sectarianism. ---The New York Review of Books

1995 Booker Prize for Fiction (shortlist)
1995 British Book Awards Author of the Year
1995 Whitbread Novel Award

Set in a modern world filled with both mayhem and miracles, the story begins with a bang: the terrorist bombing of a London-bound jet in midflight. Two Indian actors of opposing sensibilities fall to earth, transformed into living symbols of what is angelic and evil. ---Random House

1988 Booker Prize for Fiction (shortlist)
1988 Whitbread Novel Award
1989 German Author of the Year

At first glance, the controversial author of The Satanic Verses might seem an odd pairing with the MGM musical classic, but Rushdie proclaims that the Judy Garland film was "my very first literary influence." The essay that follows this confession is sprightly, witty and surprisingly deeply felt. Like the embattled Rushdie, Dorothy is an exile looking for a way back home, the victim of a wicked witch not unlike Rushdie's nemesis, the Ayatollah Khomeini. ---Publisher's Weekly