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78 pages 2 hours read

Haroun and the Sea of Stories

Fiction | Novel | Middle Grade | Published in 1990

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Chapters 5-8Chapter Summaries & Analyses

Chapter 5 Summary: “About Guppees and Chupwalas”

Iff describes Khattam-Shud as “the arch-enemy of all stories, even of Language itself (79). However, he admits that much of what he hears could be mere gossip. No one has crossed into Chup in generations. Iff says that it is always sunny in Gup, but always dark in Chup. The land between is called the Twilight Strip. It contains an unbreakable force called Chattergy’s Wall.

As they approach Gup City, mechanical creatures carrying water genies fill the sky. Iff believes that they have been summoned for a grave reason. As they get closer, Haroun sees a mass of lilacs that is keeping pace with them. It turns into man-shaped mass and tells them that its name is Mali. Mali is a Floating Gardener whose job is “Untwisting twisted Story Streams” (83). He performs a similar function as the editor of a book.

Haroun looks over the side of the boat and sees two large fish with dozens of mouths set into their skin. Butt the Hoopoe says they are called Plentimaw fishes. They constantly inhale the Story water and then blow it back out. They tell Haroun their names are Bagha and Goopy. They feel sick from the pollution in the water. They say that in the Old Zone, the southern polar region of Kahani, things are worsening. The Wellspring—the Source of Stories—may be poisoned.

They reach Gup City and visit the Palace of King Chattergy, where they see General Kitab, a man knows as the Speaker, armies made of soldiers known as Pages, Prince Bolo, and a bald man known as The Walrus.

From the palace balcony, Kitab tells the story of Princess Batcheat’s kidnapping by the Chupwalas. He believes she has been taken to Chup City, where she is probably imprisoned in the Ice Castle of Khattam-Shud. Chup and Gup are now formally at war. The Walrus says that the poisons in the ocean are spreading at a nearly uncontrollable rate. A Guppee patrol enters, escorting a spy with a bag on his head. It is Rashid, Haroun’s father.

Chapter 6 Summary: “The Spy’s Story”

The crowd is outraged when Rashid describes himself as a storyteller and subscriber to the storytelling service. Haroun worries that they will torture his father. Iff is appalled; he says they will scold Rashid, at worst. They have no precedent for dealing with spies because there has never been one before. Haroun shouts, and Rashid sees him before guards take them into the palace.

Inside, a Page named Blabbermouth escorts Haroun and Iff deeper into the palace. Haroun notices each Page’s tunic has the text of a story on it. Blabbermouth’s uniform contains the text of a story called “Bolo and the Golden Fleece” (98).

Rashid tells his story to Prince Bolo, General Kitab, the Speaker, and the Walrus. Rashid says that back on earth, he ate something to cure his insomnia and woke up in the Twilight Strip. He saw that Chup had fallen under the power of a “Cult of Dumbness or Muteness” (100), ruled by Bezaban, an idol made of black ice. Bezaban forbids speech of any kind.

Rashid claims that he saw Chupwalas kidnap Princess Batcheat. They plan to sacrifice her at the Great Feast of Bezaban. He offers to lead them to the Chupwala camp.

After the meeting, Blabbermouth escorts Haroun to his room. He says the Page’s outfits were Batcheat’s idea. They get lost on the way. Haroun stumbles, accidentally bumps into Blabbermouth, and knocks off his hat, revealing the long hair beneath—Blabbermouth is a girl. She says she hides her identity because it’s impossible for a girl to become a Page, and she doesn’t want anyone to know. Pretending to be a boy is the only way she can pursue her career as a Page.

She takes Haroun to the Palace roof to admire the view. Then she juggles for him, adding more and more golden balls until he is shocked by how many she is handling. He compares juggling to storytelling: If one ball falls, the routine collapses. Afterward, Haroun falls asleep in his room. He wakes to Blabbermouth’s hands around his throat. She warns him to keep her secret and says the army is ready to march.

Chapter 7 Summary: “Into the Twilight Strip”

Blabbermouth says she took the Disconnecting tool while he was sleeping. She believes that Rashid can solve his own problems; it’s not Haroun’s responsibility.

Haroun watches the Pages gather outside. Each of them is numbered like the page of a book, but they still argue about which order they should stand in, given that there are multiple Pages wearing the same numbers, only from different stories.

The Guppee armada leaves, along with barge birds, Floating Gardeners, and a school of Plentimaw fishes. The Guppees talk constantly, and the sound carries across the water. Haroun worries that they are mutinous as they complain about their leaders. Butt says that the power of speech must be exercised to be useful, and that the Guppees must be allowed to talk.

When they reach the Twilight Strip, it grows darker. Haroun grows depressed immediately, and Butt says that he is suffering from a “Heart-Shadow” (121). Haroun notices that the Ocean of Stories is dirtier here: its colors are fading to gray, and it is growing cold due to poison.

After they make camp on a beach, they go on a patrol to examine the shore. Haroun sees a man sword fighting against his own shadow, which seems to have its own autonomy. The warrior’s eyes are black with white pupils. Haroun thinks this is why Chupwalas must live in the dark: the warrior would be blind in the light because his eyes are turned the wrong way. The warrior approaches them and begins to make rapid hand gestures before speaking.

Chapter 8 Summary: “Shadow Warriors”

The warrior grunts at them. One of the sounds he makes sounds like the word “murder.” Rashid says that people from Chup rarely speak, which is why the warrior struggles to verbalize. Rashid realizes that the man is communicating with the rapid hand gestures, in which Rashid is fluent. The warrior was not saying “murder,” but rather, his name, which is Mudra. He is Chup’s Champion Warrior and was Khattam-Shud’s closest lieutenant. He now hates the cult and says the people would follow him if the Cultmaster died.

Then Mudra’s shadow speaks to them and explains the relationships of shadows to their hosts in Kahani. Shadows are seen as equals with the people they are stuck to. Khattam-Shud is almost a shadow now; he has spent so much time in the dark arts that his humanity has almost vanished. He separated from his shadow and can now be in two places at once. Now, some of the shadows of Kahani resent the Chupwalas to whom they are attached and wish for independence.

Haroun sees that Mudra impresses Blabbermouth, and he is jealous. Prince Bolo is skeptical of Mudra and calls him a traitor who may be tricking them.

Mudra says that one version of Khattam-Shud is in the Citadel of Chup, preparing to sacrifice Batcheat at the Feast of Bezaban. The other is in the Old Zone, poisoning the Ocean of the Streams of Story.

Haroun tells Bolo he will go to the Old Zone and spy for them. Now that he believes in the Ocean, he believes it is his duty to help. Haroun and Iff leave with the Plentimaw fishes and Mali, the Floating Gardener. They eventually reach the Southern Polar Ocean, where the waters grow colder and thicker. They leave the Plentimaw fishes behind. Soon, they reach a jungle of weeds, sprouting from the ocean. Mali clears a path through the weeds. Haroun sees a net fall over them all. Butt the Hoopoe calls it a “web of night” (142) and says they are trapped.

Chapters 5-8 Analysis

Chapters 5 to 8 present the plight of the people of Chup. The act of storytelling is anathema to Khattam-Shud’s goals. The removal of stories begins a progression leading to the eradication of education, art, and law: “In the old days, the Cultmaster, Khattam-Shud, preached hatred only towards stories and fancies and dreams; but now he has become more severe and opposes speech for any reason at all. In Chup City, the schools and law-courts and theaters are all closed now, unable to operate because of the Silence Laws” (101).

The Silence Laws eradicate free speech. There is no chance for dissent against—or agreement with—Khattam-Shud. Khattam-Shud understands the power of freedom of speech like Butt the Hoopoe. However, the mechanical bird seeks to promote the virtue, not suppress it: “‘But but but what is the point of giving persons Freedom of Speech,’ declaimed Butt the Hoopoe, ‘if you then say they must not utilize same? And is not the Power of Speech the greatest Power of all? Then surely it must be exercised to the full?’” (119).

Storytelling becomes a balancing act—one punishable by law. Blabbermouth is the clearest example of a storyteller whose decisions place her in danger. She tells everyone that she is a boy so that she can perform the job she wants: a page. She tells Haroun that without her cover story, she would be stuck: “Don’t you know girls have to fool people every day of their lives if they want to get anywhere?” (107).

When Haroun sees Blabbermouth juggle, he is impressed. He realizes that he has never given his father’s craft the respect that he would give to a physical feat like juggling, but Blabbermouth reframes his perspective: “I always thought storytelling was like juggling…You keep a lot of different tales in the air, and juggle them up and down, and if you’re good you don’t drop any. So maybe juggling is a kind of storytelling too” (108). This signals character growth for Haroun, who is seeing his father from a fresh perspective.

Duality plays a critical role in these chapters, as exemplified by the revelation that shadows and their people are separate beings:

In the Land of Chup, a Shadow very often has a stronger personality than the Person, or Self, or Substance to whom or to which it is joined! So often the Shadow leads, and it is the Person or Self or Substance that follows. And of course there can be quarrels between the Shadow and the Substance or Self or Person; they can pull in opposite directions (132).

Haroun learns that Blabbermouth, too, has a dual nature in her guise as a Page. As a Page, she must hide her female identity, but she keeps her hair long—stereotypically feminine—regardless. Rushdie uses the character Blabbermouth to create discourse around gender roles that exclude women from certain professions.

As the novel progresses, it is possible to read the story with increasing degrees of self-referentiality. There are constant reminders of the importance of stories, occurring in the middle of a story whose author was persecuted for exercising free speech. In this way, Haroun, for all its whimsical geniality, is also an act of defiance on the part of the author. It is a manifesto for the value of free speech.

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