This paper analyses the existent relationship between historical reality
and fiction in Rushdie’s three most important novels Shame, Midnight’s
Children and The Satanic Verses. In the act of remembering,
history becomes personal and fragmentary, and this gives the author
the opportunity to offering alternative historical versions of events under
the mask of several textual modes such as parody, allegory, myth,
film, dreams, hallucinations, etc. These new visions of the world and
history, moreover, liberate both the author and reader from the restrictions
of what is considered to be real.
