Rushdie doesn't like martyrdom much...

In martyrdom we find victimhood and religious self-identity combined in a potentially lethal way: it is not an accident that Rushdie opens his novel with the act of a person claiming martyrdom for herself. He has elsewhere written: ‘[O]nly fanatics go looking for martyrdom’. It is for him an inauthentic and dangerous way to establish one’s identity. In the chapter entitled ‘Ayeesha’, Gibreel has a vision that he, as an angel carries ‘the Imam’ – a character strongly resembling the Ayatollah Khomeni – back to the capital city of Desh. Gibreel notices the streets swarming with people, converging in a regular pattern upon a grand avenue leading towards the palace of the Empress (who echoes the hated Shah of Iran, disposed by the Islamic revolution of 1978). The people march in their hundreds towards the gates of the palace:

Seventy at a time, they come into range; the guns babble, and they die, and then the next seventy climb over the bodies of the dead, the guns giggle once again, and the hill of the dead grows higher. Those behind it commence, in their turn, to climb. In the dark doorways of the city there are mothers with covered heads, pushing their beloved sons in to the parade, go, be a martyr, do the needful, die. ‘You see how they love me,’ says the disembodied voice. ‘No tyranny on earth can withstand the power of this slow, walking love.’

This scene of ‘slow, walking love’ is viscerally awful, especially from the point of view of a secular individualist like Rushdie: the filmic quality of the narration adds to the revulsion that the reader must feel. That the mothers approve of the death march adds to its horror, that people could be so possessed of an irrational desire to self-destruct. For his part, Gibreel lamely suggests to the Imam that they are in fact driven not by love of him, but rather by hatred for the Empress: a revolutionary zeal in other words, rather than a religious devotion. The Imam replies:

They love me…because I am water. I am fertility and she is decay. They love me for my habit of smashing clocks. Human beings who turn away from God lose love, and certainty, and also the sense of His boundless time, that encompasses past, present and future; the timeless time, that has no need to move. We long for the eternal, and I am eternity. She is nothing: a tick, or a tock.

The religious emphasis on the transcendent, in other words, enables the appalling scene before us, because it holds out the promise of something even more substantial than one’s own life. It promises a substance more solid than the power of empires, which come and go along the ebb and tide of history. The cost of offering oneself to the Imam – life itself – is nothing compared to the reward that he promises.