"Nineteenth century writers of romance, or of fiction which is close to romance in its technique, sometimes speak in their prefaces and elsewhere of the greater "liberty" that they feel entitled to take. By liberty I they mean a greater designing power, especially in their plot structures." (Frye 46).
Hmm, does this idea of liberty apply to such a specific group? Probably not.
I read somewhere that Rushdie's novel is a "censorship allegory" in that he's taking his utmost liberties against those who control, litigate, and police the real opinions of others. Persons' voice loses luster without it's insight and stripped-down, raw, sad-but-true belief in the realities of the world. Salman Rushdie is not a romance writer from what I've read all while grappling with the ideal structure and spectacle of a good romance. Haroun and the Sea of Stories is a coming-of-age tale, and there are small portions of romantic movement. Haroun gets a taste of bigger things in the big-boy world; the conflict, the powers and players, the . Of course there is a girl in it for Haroun, but there are larger matters on hand and Haroun's quite the naive youngun. This is a story of the hero where a journey has summoned his services and he proceeds to succeed, to save the world from being stripped of stories! The romance in the story doesn't fail so much as it acts as a cliffhanger. He reveals her beautiful black locks early, the big boys figure out her ploy midway, then she accepted and kisses the hero in the end. Then what happens? I don't know, it's kind of a tragic romance because there's no answer to the aftermath. So what can we say--Get it Haroun!
Rushdie's allegory is aimed at embodying other large orders in the world. The structure of his story has these larger orders, what we may also understand as Rushdie's liberties challenging his own contrived hierarchical design. The pirates who've poisoned the story streams are a symbolic complication and installment of censorship--their leader addresses the unnecessary nature of stories and believes they should become nothing. He attempts to permanently suppress the rich waters with a poor solution, but the structural foil fails to spoil. This is an small look into the larger order of Rushdie's design within this particular novel.
Furthermore, what other liberties does he take as an author and allegorical artist? Am I wrong, is this a good romance?
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