Salman Rushdie Reflects on Freedom of Expression and Modern Communication
Salman Rushdie sits in a contemplative pose, his image captured in the hall of the Barcelona Center for Contemporary Culture (CCCB). The portrait hints at the lasting impact of last year’s brutal attack, with details like a smoky lens on one side of his glasses, a lifelike but altered gaze, a slightly crooked mouth, visible neck scars, and a right hand that shows limited mobility. Yet the overall impression remains of a writer who carries hardship with humor, focus, and unyielding resolve. Just days earlier, he accepted the German Booksellers’ Peace Prize in Frankfurt, and from his London home he reaffirmed his stance on free expression at the opening session, introduced by the festival director. The gathering drew attention from colleagues and friends, including Judith Carrera and Lisa Appignanesi, a longtime supporter and former PEN president.
The author had recently completed a two-volume memoir and had begun a new work. The forthcoming book Knife, which chronicles the attack, is said to be inspired by the fatwa issued decades ago and shapedRushdie’s approach to memoir writing. He explains that the work is short and written in the first person to convey immediacy after the assault. The author notes that this project pushed him to rethink his fiction and to consider future creative directions, writing about the thoughts and emotions triggered by the incident in a direct, unvarnished manner.
Freedom of Expression in the Age of Social Media
Rushdie remarks on the oddity of defending a universal right that often faces opposition in various corners of the world. He maintains that freedom of expression is essential to what it means to be human, even when the world around a person is reshaped by new pressures. He observes shifts in the landscape of advocacy, noting that today pressures come not only from traditional authorities but also from younger voices and political factions who resist unsettling ideas. He acknowledges his own limits and notes a relaxation in his previous intensity about global politics and social networks. He even jokes about preferring not to discuss a platform represented by a certain initial.
The conversation previews a forthcoming work, Knife, slated for bookstores next April. In the meantime readers awaits Rushdie’s volumes such as Languages of Truth, a compilation of essays from the past seventeen years, alongside his most recent novel, City of Victory. The novel, finished just before the attack, blends historical inquiry with mythic storytelling, a fusion often compared to magical realism, a style he has long admired. He explains that the comparisons often miss the cultural richness behind South Asian folktales, Hindu and Muslim traditions, which influence his craft. He briefly comments on the news that an unpublished García Márquez manuscript will be released next year and remarks on his own unpublished writings housed at a university in the United States. He clarifies that he does not wish those manuscripts to be published. Rushdie’s ties to Spain and Andalusia frequently surface in his work, including references in The Moor’s Last Sigh and Don Quixote, and fans look forward to a live Barcelona appearance in the near future, unshaken by recent events.
Notes from supporters and critics alike emphasize Rushdie’s persistent energy and sense of humor. The writer’s voice remains a beacon for debates on free expression, culture, and the enduring power of narrative to bridge diverse worlds. The dialogue continues to unfold across major literary centers, with Rushdie often framed as a bridge between continents, eras, and ideas. Mr. Rushdie’s ongoing work and public reflections offer visitors a portrait of a writer who endures adversity while maintaining his commitment to storytelling and to the conversations that shape contemporary life. The dialogue around his work and philosophy continues to attract attention from readers, scholars, and cultural leaders around the world. [citation needed]