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The Enchantress of Florence: A Novel | 
 enlarge | Author: Salman Rushdie
Publisher: Random House
Category: Book
List Price: $26.00
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You Save: $12.00 (46%)
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Rating:  38 reviews
Sales Rank: 1188
Media: Hardcover
Pages: 368
Number Of Items: 1
Shipping Weight (lbs): 1.5
Dimensions (in): 9.4 x 6.4 x 1.3
ISBN: 0375504338
Dewey Decimal Number: 823.914
EAN: 9780375504334
ASIN: 0375504338
Publication Date: May 27, 2008
Availability: Usually ships in 1-2 business days
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Amazon.com
Amazon Best of the Month, June 2008: Trying to describe a Salman Rushdie novel is like trying to describe music to someone who has never heard it--you can fumble with a plot summary but you won't be able to convey the wonder of his dazzling prose or the imaginative complexity of his vision. At its heart, The Enchantress of Florence is about the power of story--whether it is the imagined life of a Mughal queen, or the devastating secret held by a silver-tongued Florentine. Make no mistake, it is Rushdie who is the true "enchanter" of this story, conjuring readers into his gilded fairy tale from the very first sentence: "In the day's last light the glowing lake below the palace-city looked like a sea of molten gold." At once bawdy, gorgeous, gory, and hilarious, The Enchantress of Florence is a study in contradiction, highlighted in its barbarian philosopher-king who detests his bloodthirsty heritage even while he carries it out. Full of rich sentences running nearly the length of a page, Rushdie's 10th novel blends fact and fable into a challenging but satisfying read. --Daphne Durham
Product Description
A tall, yellow-haired, young European traveler calling himself “Mogor dell’Amore,” the Mughal of Love, arrives at the court of the Emperor Akbar, lord of the great Mughal empire, with a tale to tell that begins to obsess the imperial capital, a tale about a mysterious woman, a great beauty believed to possess powers of enchantment and sorcery, and her impossible journey to the far-off city of Florence.
The Enchantress of Florence is the story of a woman attempting to command her own destiny in a man’s world. It is the story of two cities, unknown to each other, at the height of their powers–the hedonistic Mughal capital, in which the brilliant Akbar the Great wrestles daily with questions of belief, desire, and the treachery of his sons, and the equally sensual city of Florence during the High Renaissance, where Niccolo Machiavelli takes a starring role as he learns, the hard way, about the true brutality of power.
Vivid, gripping, irreverent, bawdy, profoundly moving, and completely absorbing, The Enchantress of Florence is a dazzling book full of wonders by one of the world’s most important living writers.
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| Customer Reviews: Read 33 more reviews...
 A novel of dazzling beauty, and an amalgam of history, fable, and vivid imagination May 27, 2008
Yesh Prabhu, author of The Beech Tree (Plainsboro, New Jersey)
107 out of 121 found this review helpful
This mesmerizing novel, even more charming, entertaining and thought-provoking than his Booker-winning "Midnight's Children", dazzles like a genuine gem. Written in prose so indescribably beautiful and absorbing that I found myself holding my breath involuntarily countless number of times, this book will most certainly elevate Rushdie's well earned lofty place in the literary world even higher.
This novel is not one long story; rather, it is a marvelous narration and compilation of several stories, each bewitching in its own way. On the surface, it is the story of a handsome, golden haired man named Mogor dell'Amore (Mughal of Love), who claims that he is a descendant of Emperor Akbar's grandfather's youngest sister, a princess of great beauty, the Mughal princess Qaara Koz. Also, this novel is partly based on history, the rest is a combination of fable, fantasy, and Rushdie's florid imagination: the great Mughal Emperor of India, Akbar, and his sons are historic; but the golden haired enchantress of Florence, I think, is a product of Rushdie's imagination or fantasy. The novel can also be read as a story about the clash of two civilizations: The Mughal Empire in the East, and the "empire" of the Medicis and Machiavelli of Florence in the West. This book can be called novel only in a broad sense; to call it an epic, perhaps, would be more appropriate.
Very rarely do readers get an opportunity to read prose as lovely and grand and mesmerizing as Rushdie's prose in this book. The cumulative effect of reading lovely passages on top of dazzling passages will surely overwhelm the reader: "Fires began to burn in the twilight, like warnings. From the black bowl of the sky came the answering fires of the stars. As if the earth and the heavens were armies preparing for battle, he thought. As if their encampments lie quiet at night and await the war of the day to come." This book reminded me of Rudyard Kipling's "Kim"; it is written in the same grand style.
Rushdie's "Midnight's Children" was considered a monumental work, and it was a commercial success too, and after winning the Booker prize in 1981, it went on to win the "Booker of Bookers" award (the best Booker prize) - Booker's twenty-fifth anniversary prize. And it is the leading contender for the Booker's fortieth anniversary prize also. The "Enchantress of Florence" is so grand that it will win, I think, the Booker prize next year. I have no doubt that this book is Rushdie's finest work.
A treasure -- one of Rushdie's two best works June 16, 2008
Stephen R. Laniel (Cambridge, MA USA)
31 out of 40 found this review helpful
Rushdie has often been torn between two opposing interests. On the one hand, he often has a moral that he wants to impart. Midnight's Children was about the dissolution and insanity of India; Shalimar the Clown was an overwrought, heartbroken thing about Kashmir; The Moor's Last Sigh was an impassioned story of a writer on the run from a death sentence -- an obvious allusion to the price that the government of Iran had put on his head. (That death sentence was, itself, in retaliation for The Satanic Verses, which is Rushdie's worst novel. If you're going to be sentenced to death, I say, be sentenced to death for a great work of art.) On the other side, he wants to just tell a good story, with or without a moral.
Sometimes, as in the case of The Satanic Verses -- and to an extent in Midnight's Children -- Rushdie loses all discipline. He's self-consciously creating a phantasmagoria, which is a danger for someone who writes in the magical-realist tradition of Garcia Marquez: rather than injecting bits of magic into the daily lives of your characters, sometimes you dive off the deep end and create a work of fiction that really wants to be a fantasy work. This was the trouble in The Satanic Verses.
Finally, Rushdie sometimes wants to paint the world as a carnival, and the brushstrokes lose all control. (Think here of the films of Federico Fellini.) Midnight's Children almost suffered from this, but Rushdie reined it in.
All of which is prologue to The Moor's Last Sigh and The Enchantress of Florence. These are Rushdie's masterworks. They inject fantasy where it's necessary, tell a captivating story, keep Rushdie's frenetic intelligence in check, and never let a moral overpower the novel's own momentum.
Structurally, the story is similar to the 1001 Arabian Nights, though it doesn't recurse as deeply as the Arabian Nights does. The story begins at a beautiful oasis of a city, presided over by an emperor who -- at least according to his PR -- possesses all the virtues and none of the faults of ordinary mortals. He is the living Truth itself. He refers to himself as "We," inasmuch as he embodies the people themselves.
Into this city, and directly to this grand emperor, comes our hero (sort of -- remember that there are stories within stories, so there are several heroes) with a vast secret to tell. He's a magician of sorts, wearing a strange coat in which endless objects can hide. Where has this strange man come from? What does he have to tell the emperor? How will he get through the many walls surrounding His Majesty?
This is the stuff of great fun. I don't think I'm giving away much if I tell you that he does make it through to the emperor, through the use of magical potions of a special sort. Every time Rushdie could stop and tell a little story -- say, about how the potions were made, or what they contain -- he does, and each time he does I got tickled. These are terrific stories.
Our hero himself has a story to tell the emperor. That story constitutes more or less the entire book. Most of the time we forget that we're inside the inner stories; Rushdie has wrapped us up completely within it. The inner story is where we hear about the character in the title: the Enchantress is the most beautiful woman in the world, the most beautiful woman anyone has ever seen or ever will see. Her mere presence causes otherwise stoic men to fall to their knees and either pray for her or pray for themselves (even the men themselves aren't clear which it is).
And so forth. The storytelling here is without peer. Knights with skin as white as death, court intrigues, epic battles ... this is a throwback to an earlier kind of storytelling, and what a skilled throwback it is.
At the same time, it's a history piece. The grand emperor with whom we started is Akbar the Great (which, Rushdie reminds us, is redundant: "Akbar," or some part of it, means "great"). Akbar's ancestors, it turns out, were connected in various ways with Niccolo Machiavelli and Sandro Botticelli and Amerigo Vespucci. Did these connections actually happen? How about the court intrigues: were there any parallels to them in the real Ottoman Empire? There's material enough in the historical bits alone to fuel research for years; Rushdie himself must have spent years just on that part. It's great fun.
Then there's the meta part of The Enchantress of Florence -- the part that deals with the power of storytelling itself. We learn early on, for instance, that Akbar has brought a queen into existence using only his mind. His force of will is such that she becomes real, and the city eventually sees her as well. When Akbar leaves on a military campaign, he returns to hear his queen relate what has gone on in his absence. He makes love with his imaginary queen. This idea recurs throughout The Enchantress of Florence, but again: never enough to get in the way of the story itself, which is magical without being fantasy.
The Enchantress of Florence is a treasure.
 I always enjoy a good fairy tale; this one is too complex for me June 16, 2008
Laura (New York USA)
30 out of 43 found this review helpful
I looked forward to reading Mr. Rushdie's latest novel, but with a bit of trepidation. His books have never been an easy read for me, as his artful if somewhat flowery prose often distracts me from the story line. I often find myself foundering in the complexities of his words at the expense of other elements of the story. Generally I have to read and reread to begin to fully appreciate all the varied and wonderful aspects of each tale. My efforts have always been rewarded, though, by a wonderful story replete with interesting characters, and a satisfying sense that my mind has been enriched by the reading.
Unfortunately, this book did not deliver the cohesive, fascinating story I am used to from this author. Try as I might I could not really follow the story, which seemed to rely primarily upon the story-teller within the main story to provide the forward movement. While I enjoyed this at first, I found it increasingly irritating, as even the story-teller wove a multi-dimensional tale that wended its way throughout the main story jumping from one timeframe to another, one group of characters to another. The result for me at the end of many hours of reading was a feeling of complete disconnectedness from the story, even though I found portions of it enthralling enough.
The writing as always was beautiful and wonderful in its own way. I found portions of the book to be fascinating and enjoyable, but overall the work involved to make my way through the book was disheartening. I have read the reviews of others who seem to think that this book was really just a series of short stories or vignettes that the author may or may not have intended to stand on their own. Maybe this is true, but I believe that there are ideas and forces at work here that are much deeper. I just wish I knew what they were.
I may try reading this book again. Or maybe I need a study guide?
beyond 5 stars: a must read June 10, 2008
tregatt (Portland, Oregon)
27 out of 34 found this review helpful
Years ago (more than I'd like to think about), one of my tutors recommended that I read Salman Rushdie's "Haroun and the Sea of Stories." I tried to finish the novel but have to confess that I didn't. I probably lacked the sophistication back then to appreciate the exquisite prose style and painstaking craftsmanship that went into creating that award winning novel. And truthfully speaking I rather thought that Salman Rushdie was going to be one of the many winning authours that would never make to my reading pile. But something about "The Enchantress of Florence" beckoned, and I decided to give it a go. And I'm truly glad that I did. What an exceptionally enthralling and compelling read "The Enchantress of Florence" turned out to be.
The Mughal Emperor, Akbar, is ready for a diversion away from the woes of family and ruling a vast nation, when a mysterious yellow-haired stranger arrives at his court in Fatepur Sikri, claiming to be an ambassador from England. The stranger has many tales to tell about the distant European city of Florence, and the enchantress from the East that enraptured the people of Florence with her beauty and grace, and soon everyone in Sikri is enthralled by the young storyteller's tales. But will these stories prove the undoing of the court, and will Akbar's growing affection for the storyteller cause even more strife amongst his family?
When I was a child, my mother used to subscribe to an Indian magazine for women that had recipes, articles, sewing tips and vignettes about Akbar and his wise advisor Birbal. Reading "The Enchantress of Florence" transported me back to those wonderful carefree days. Constructed somewhat like "The Arabian Nights," with the mysterious stranger playing the part of Scherazade, "The Enchantress of Florence" is a series of short stories that follows the supposed adventures of Qara Koz, a grandaunt of Akbar's, and that of her greatest love, the mercenary general, Argalia. Many of the stories are based on historical fact, but are told with elements of the fantastical, so that the mood and atmosphere of the novel is really quite fairy-tale like and dazzling. Also adding to this magical tone is Rushdie's powerfully lyrical and vivid prose style and brilliantly rendered scenes. All in all, this was a very, very fascinating and beguiling read that enraptures, dazzles and seduces. Not a book to be missed -- and I think I may be finally grown-up enough to appreciate the authour's other novels.
An Enchanting Story June 4, 2008
Terri B. (So Cal)
22 out of 26 found this review helpful
The Enchantress of Florence begins with a mysterious yellow-haired stranger standing astride a bullock cart as he enters the domain of the emperor of India. He is godlike in stance, yet in appearance he is as a fool with his "overly pretty face" and parti-colored coat. The city to which he arrives is one of the grand cities of the world in both scale and wealth. Even the nearby lake seems to be made of gold. This of course is just an illusion brought about by the setting of the sun, but is an appropriate introduction to the story since it will become difficult to separate the real from the imagined as the story progresses.
The yellow-haired man is a teller of stories and he has arrived to tell a story to the Mughal of India that will either bring him fortune or cost him his life. This young man has represented himself to the Emperor Akbar as an emissary of Queen Elizabeth I. The emperor challenges the stranger's identity and would dismiss him except the yellow-haired man, who calls himself first Uccello of Florence and then Mogor dell'Amore (mogul of love), begins to weave the enchanting story of Qara Koz, the enchantress of Florence, who he claims is his mother.
But what is the Emperor to make of the stranger's story? What are we to make of the story we are reading? Identities and reality are not always clear within this magical novel. Who is the story-telling stranger? Is Qara Koz really the stranger's mother? Even the Emperor is not sure if he is simply an "I" like everyone else or a "we" of divine royalty. Reality is tenuous. Characters are imagined yet given "space" and relationship. Painters disappear into their own paintings. The story-teller feels himself fading away to nothingness when kept from telling his story. Is he merely defined by his story and without it has no existence? To add to the tenuous atmosphere created by questions of identity and reality, women are sometimes mere echoes and mirrors of someone or something else. They whisper and murmur and are ghostlike as they glide behind curtains and veils.
The author has woven layers of story around his readers, and enchants and draws us into his creation. We would come back night after night, for 1001 nights, to hear the story he has to tell. He shows us that story has power ... the power to enthrall, the power to rend apart and the power to create.
The Enchantress of Florence is first and foremost a story. It is secondarily an affirmation of the power of story. I found that I had to let go and allow Rushdie to take me where he would in order to fully enjoy this work. My criticism is limited to passages that seemed unnecessary and clumsy (e.g. the potato witches) and I wonder if the author wasn't too anxious to use as much of his extensive research as possible. The appended bibliography of works consulted is quite impressive and I look forward to reading from that list in order to expand my understanding of those historical elements that went right over my head.
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