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3.85 of 5 stars 3.85  ·  rating details  ·  6,894 ratings  ·  320 reviews
The novel that set the stage for his modern classic, The Satanic Verses, Shame is Salman Rushdie’s phantasmagoric epic of an unnamed country that is “not quite Pakistan.” In this dazzling tale of an ongoing duel between the families of two men–one a celebrated wager of war, the other a debauched lover of pleasure–Rushdie brilliantly portrays a world caught between honor an ...more
Paperback, 320 pages
Published March 11th 2008 by Random House Trade Paperbacks (first published 1983)
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Oct 29, 2007 Lizzie rated it 5 of 5 stars  ·  review of another edition
Recommends it for: Everyone
I reread SHAME this weekend and was once again reminded why Rushdie is one of the greatest authors of our time. In Shame he addresses may levels but this last reading I focused on how he has intertwined the relationship of Shame throughout the levels of our human experience. He draws his characters so that there many layered motivations and convoluted histories speak to more than simply internal shame but also how actions on level produce effects that reach as broad as national politics and hist ...more
Paakhi Srivastava
Dear Sir Rushdie

Shame is an excellent satire written in your plainspoken magic realism prose, which has left me awestruck. It is astounding how perfectly you lamented the political state of affairs in Pakistan with that of unrest of hypothetical country Q. The chronicle of the shift in political powers and musings on deeper realms of human mind weaved together by an exotic language yet a quality prose is much appreciated.

Authors would like to write a gripping story for masses, you write for your
Although I always list Rushdie as one of my favorite authors of all time, it had been almost ten years since I picked up one of his books. So when I came across Shame in 12th Street books, I decided to dive back in.

I loved the way that the story kept leaping ahead of itself, rushing ahead like an impatient child to tell you things that wouldn’t happen until much later, and when they did happen how different they were from the expectations that had been seeded. The narrator of Shame, like many of
شادي  عبد العزيز
كما توقعت لما تخذلني الرواية، وتظهر سمات مشتركة بينها وبين الرواية السابقة (أطفال منتصف الليل)

استخدام التاريخ كمادة حكائية، ولكن التاريخ عند سلمان رشدي ليس هو كل الحكاية، فقط هو أداة، جزء من بناء الحدوتة، والحدوتة ليست دقيقة تاريخيا بالضرورة، كما أنها ليست مشغولة كثيرا بسؤال الحقيقة، سلمان رشدي قادر على تقديم حدوتة جميلة، وإجبارك على تصديقهاـ كما أن التناقض بين معرفة القارئ بحدث تاريخي معين وما يضفيه عليه رشدي من خيالات مثير للضحك أحيانا، ومثير للخيال في أكثر الأحيان.

لكل شخصية في روايتي سلمان رش
Hosam Diab
الرواية الثانية التي أقرأها للمؤلف بعد رائعته أطفال منتصف الليل. ينحو المؤلف إلى الرمزية، وبدل أن يتستر وراء الشخوص والأحداث، فإنه عبر الراوي (المؤلف) يسخر من هذه الرمزية، ويعزز ارتباطها بباكستان: بلاد الله. لا يخفي الراوي/ المؤلف كراهيته للنسق الاجتماعي المحدد للشرق، حيث العار يحيق بك من كل شيء: ينز من المياه، من الأرض، من الجبال، ومن الماضي. حيث - في القصة الخيالية- تتحول (صفية زنوبيا) الفتاة المتخلفة عقلياً إلى وحش يجز الرؤوس بسبب العار، بينما يسرد الراوي/ المؤلف خبراً عن الأب الباكستاني الذي ...more
Shame is an undesired sperm that impregnates human psychic with acute guilt and discomfort to procreate a shameless fiend amid continual cerebral labor pains. Molded on a fictionalized caricature of Pakistan’s opinionated and influential communal strata it incubates the embryonic mesh of brutality resulting in social and personal turmoil.

Rushdie along with his emotive quandary constantly appears to be a lost child meandering on the South Asian political-cultural perimeter. With Satanic Verses an
I absolutely hated the first half of the novel. It seemed to drag on and on, introducing characters that I didn't find interesting in the slightest. However, it is interesting to note that as the book progresses, as the characters become more deranged (and consequently, more fascinating), I began to devour the book instead of checking how close I was to the end of a chapter every few pages.

Rushdie's style is sometimes a bit verbose, especially if you're not paying very close attention. However,
The controversy surrounding the reign and relationship of late Prime Minister of Pakistan Zulfikar Ali Bhutto and his Commander-In-Chief at the time, Zia-Ul Haq has captured the imagination of the world for a long long time. I had heard vague stories about this conflict as a boy but had never really understood what had ensued before and after the successful coup that Zia undertook, overthrowing Bhutto and becoming the President of Pakistan himself. This was one of the primary points of attractio ...more
Shame - the masterpiece of a master storyteller. I have read some Rushdie in past and every book has been an eye opener. Though his form of writing is technically called - Magical Realism. For me it’s pure and simple magical mythical storytelling. The way he writes is how ancient history is called as mythology. He picks up historical situations whether India's partition in 'Midnight's children, Kashmir extremism in 'Shalimar - the Clown, or Pakistan's politics in 'Shame' and the characters turn ...more
Probably one of the best things I've ever been lucky enough to stumble across. The country that's 'Pakistan but not Pakistan' is an amalgamation of countries throughout history, - and events in Pakistan are still clearly the focus. It's an imaginative reworking of history in the style of magic realism, a polemic against theocracy and tyranny, with his main characters based on Zulfikar Ali Bhutto & Muhammad Zia-ul-Haq; and my God, it's brilliant. I'd do it a serious injustice if I attempted t ...more
Кремена Михайлова
Една от моите шест звезди.

Забележителна фабула, следвана до края с голямо майсторство и убедителност; водеща към размисли за индивидуални човешки прояви, в които се коренят други много по-глобални проблеми (например фанатизъм, авторитаризъм, власт и пари на всяка цена). Книга за тънката граница между срам и безсрамие (внушаването на срам чрез религия, традиции, затворени общества неусетно прераства в безсрамие и безнравственост, особено при самозабравянето във властта).

Всички стряскащи
Rushdie has a very unique style to his storytelling; he narrates as a character outside of his tale, yet is wholly invested in it. His tone is casual, imitating the convolutions of an orally told story with not all the bits told in order. In this way, he plays with temporal and spatial linearity very freely, giving hints of the future in tantalising teasers- but still manages to surprise the reader. Shame is about politics, but it is also about families, and failures, and the fractures that can ...more
From Midnight Children on, seems that Roshdie’s preference moves tward the language rather than the narration itself. Comparing ”The ground beneath of her feet” and ”Midnight children” one comes to a more beautiful language but less interesting events.
در اثار رشدی زبان از زیبایی خارق العاده ای برخوردار است. واژه هایی که رشدی در زبان انگلیسی ابداع می کند و عمدتن مخلوطی از انگلیسی هندی- بریتانیایی ست، گاه به توجیه صحنه، عمل یا شخصیت در روایت کمک شایانی می کند. بسیاری از واژه های ابداعی رشدی در انک
"E' tra la vergogna e la spudoratezza l'asse su cui noi ruotiamo; su entrambi questi poli le condizioni meteorologiche sono le più estreme, le più feroci. Spudoratezza e vergogna: le radici della violenza."

Dopo il successo del suo primo vero grande romanzo, Rushdie tenta di bissare l'operazione, narrando questa volta del Pakistan, di nuovo ricorrendo a elementi del realismo magico. Con risultati decisamente deludenti. Se in I figli della mezzanotte Rushdie è stato capace di costruire un romanzo
This was my first encounter with the obscure genre of magical realism and Rushdie himself. The book is set in a fictional town of Pakistan or ‘Peccavistan’, although Rushdie elucidates that it can be any country because no one is immune to shame, even the ‘shameless’. It is an uncomfortable part of human existence which insidiously haunts our lives.

The book’s central plot deals with the relationship between Iskander Harappa and Raza Hyder, which are allegorically based on two of most influential
What do you say about a writer who is brilliant at his work, but uses it to highlight and exaggerate the negative aspects of life? I say its a shame. Its a shame that someone with Salman Rushdie's exceptional writing skills can't employ them in constructive writing. Instead, he chooses to write about the problems in the societies he used to inhabit. This most depressing aspect of his writing is most evident in this book, titled quite aptly, Shame.

The book is an encyclopedia of everything that co
Carl Brush
Shame is fantastic--not in the pop sense of high quality, but in the literal sense of worlds beyond reality. The book is filled with strange beasts and diseases. It travels through vast realms of soul, spirit, government, psychology, medicine, history, politics, religion, philosophy. It takes place in a country that is “not quite Pakistan,” and in a time that ranges from prehistory to the present. I am quite sure that those versed in Indian/Afghan/Iranian history find reams of allegory in the re ...more
Nicholas Hodler
The book is not bad and covers a very interesting topic in a fantasy Pakistan. However the fantasy world is pushed a bit too far and many analogies are a bit too self consciously explicit. By allowing himself to detach the story so far from "reality" it makes the thematic aspect of the book come out stronger, but at the expense of the narrative.
The third book by Salman Rushdie I have read after Midnight's Children and The Moor's Last Sigh and the third absolute stunner.

The book is a paper thin satire on the post-independence history of Pakistan, a country that is oftentimes ignored by novelists when you consider the plethora of books that have appeared on its easterly neighbour. Rushdie playfully pretends that the book is fictional but even the most dunderheaded of censors from the 1980s military regime will have noticed the parall
Lora Grigorova

In a typical Salman Rushdie fashion, Shame shocks from the mere start. Omar Khayyam Shakil has been born and raised in the fictional town of Q. (actually Quetta, Pakistan) by his three mothers – sisters who shared the symptoms of pregnancy as well as the birth itself, making it impossible to determine which one gave birth to him exactly. Confined in his home for more than 20 years, Omar develops into a strange and introvert fat boy, filled with hatr
yuck. perhaps I'm just not as intelligent as I thought, but, I hated this book. There I said it. And, I'm just going to leave it at that.
If I have one advice for those who plan to read Shame it will be: take notes on who is who, write down names of characters and how they relate to each other, or you will be lost like I did! It reminded me a lot of A Hundred Years of Solitude, where I had the Buendia's family tree with me all the time when I was reading the book, so I could keep track. With Shame, there is the same confusion, the characters' stories intermingle, some are similar and the constant flashforwards and flashbacks won't ...more
I wasn't sure what I was getting into with this book. I had first heard of Rushdie in relation to the fatwa against him issued by Ayatollah Khomeini and later learned that, along with Martin Amis and Ian McEwan, is one of the most influential and powerful writers in England from our parents' generation.

At any rate, this novel dramatizes the independence of Pakistan from India, its disastrous war in East Pakistan that resulted in the creation of Bangladesh, and its troubled political history, ve
Gabriel Nita
Publicat de Salman Rushdie în 1983, așadar cu mult înainte ca acesta să devină faimos ca victimă a decretului religios al ayatolahului Khomeiny, Rușinea este un roman pe care l-am regăsit la o a doua lectură la fel de nedumeritor ca și la prima. Zic nedumeritor pentru că e o carte care în multe rânduri te face să întrevezi un uriaș potențial narativ și imaginar, dar se autosubminează cu promptitudine. Și regularitate. Nu o face prin prea mult scris, cazul altor romane ale autorului – nu e deloc ...more
David Mahaffey
There are moments of brilliance here, but I seem to have little tolerance for novels that sag and sprawl. I enjoy an intricately plotted novel sometimes but Shame isn't tightly wound enough to propel me all the way through without resenting all the random points of departure and, especially, the narrator's constant addresses to the reader. Still, this excerpt is reason enough to plow through:

" Where do you imagine they go? -- I mean emotions that should have been felt, but were not -- such as r
Shashank Garg
I can't really remember when I started reading the book Shame. I think it was 2 years ago. It is not that I'm a slow reader or get distracted easily. It's just that, half-way through the book, the story started to droop. It seemed, nothing interesting ever happened. And the characters were full of hatred and dry of sentiments. The story really seemed dry like a desert which it is drawn in, and it parches your throat to read it through.

But two days ago, I picked up the half-finished book again, a
Madhurabharatula Pranav Rohit Kasinath
Someone close to me once said - this was praise, mind you - that Django Unchained was so unique because Tarantino had no respect for his audience. He made the film in his own messy, unorthodox manner and if you didn't like it - to hell with you. It made a kind of twisted sense.
I felt the same when I read this book. Rushdie is writing for himself - not for his audience - and the result is far from wonderful. In fact, its awful.
Writing is an inclusive activity. When you write, you want your reader
I'm so disappointed with this novel as the last Rushdie novel I read, Midnight's Children, I thoroughly enjoyed. Shame, to me, was long-winded and anti-climactic. Fair enough that Rushdie was trying to make a point about the political system in Pakistan, but it took so long to get anywhere I had completely lost interest by the time it came along.

This one got lost on me, sorry Mr Rushdie! I won't give up on you though, I just hope there's another Midnight's Children amongst your work.
Way back Salman Rushdie was a big thing for me, to the extant that I submitted an extended essay on him as part of my second year exams. Yet even I remember mixed feelings about a novel that was chiefly talked about for it wasn't: it wasn't about India, it wasn't a Booker prize winner, and, above all, it wasn't Midnight Children. With 20:20 hindsight you can now see that Pakistan is as fertile a subject as India, the Booker prize judges are as wrong as often as they are right, and the gap betwee ...more
All the characters seem to loiter at the precipice of the event horizon gradually being pulled towards the singularity of fate. It had this really nice sense of cliched destiny and of 'balance' being achieved through it. Everyone is a bit of caricature but it serves to accentuate the differing manifestations of the title emotion shame.
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Sir Ahmed Salman Rushdie is a novelist and essayist. Much of his early fiction is set at least partly on the Indian subcontinent. His style is often classified as magical realism, while a dominant theme of his work is the story of the many connections, disruptions and migrations between the Eastern and Western world.

His fourth novel, The Satanic Verses, led to protests from Muslims in several coun
More about Salman Rushdie...
Midnight's Children The Satanic Verses Haroun and the Sea of Stories The Enchantress Of Florence Shalimar the Clown

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