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56 pages 1 hour read

Salman Rushdie

Victory City

Fiction | Novel | Adult | Published in 2023

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Part 1Chapter Summaries & Analyses

Part 1: “Birth”

Part 1, Chapter 1 Summary

Content Warning: The section of the guide contains mentions of sexual abuse and misogyny.

The narrator of Victory City explains that the story is adapted from an “immense narrative poem” (3) by a poet and prophetess named Pampa Kampana, who died at the age of 247. The poem was found in a clay pot. It was originally written in Sanskrit and titled Jayaparajaya, which means Victory and Defeat. The poem spans 24,000 verses and describes the rise and fall of the Bisnaga Empire, a unique empire that appeared in Southern India in the 14th century. The narrator admits to not being a scholar or a poet. As a result, Pampa’s story will be retold in “plainer language” (4).

The story begins in the 14th century in what is now the south of India. An old king named Kampila Raya rules over the tiny principality of Kampili, which is where Pampa is born and raised. When Pampa is nine, the Kampili army is defeated in a lopsided battle with a much stronger army representing the sultan in Delhi, to the north. To the people of Kampili, this battle is cataclysmic, but from a broader perspective the battle is so insignificant it doesn’t even warrant a name. The women of Kampili build a great bonfire and throw themselves on the pyre. Pampa watches her mother burn, and the image is etched into her mind forever. Her father is already dead, so she becomes an orphan. Her childhood is over, but she refuses to die young. At this point, she is infused with the voice of the goddess Parvati, who tells her that she will build an empire that will rule for centuries. The empire will not be built on traditional, patriarchal lines. Parvati’s prophecy is both a blessing and a curse.

Pampa begins to wander. She finds a monk’s dwelling, in which a 25-year-old monk named Vidyasagar lives as a hermit. Vidyasagar welcomes the nine-year-old Pampa into his small dwelling. He feeds and clothes her, but he also sexually abuses her. This abuse imbues Pampa with “an angry power” (10). Vidyasagar presents himself as a holy man who thinks about nothing but peace.

Pampa grows up. When she is 18, two brothers arrive at the monk’s dwelling. They are named Hukka and Bukka Sangama. They grew disillusioned with their lives as cowherds, so they joined the army but were captured and forced to convert to a religion in which they do not believe. Now, they want “good advice” (12) on what to do with their lives. Pampa tells them to take the sack of seeds that they brought to her as an offering. If they scatter the seeds, she says, they will “bring forth a history, a new reality, an empire” (13). She tells them to build their city and then return to her.

Part 1, Chapter 2 Summary

Hukka and Bukka do as Pampa commands. They take their seeds to the designated place and, after the seeds are planted, they retire to a nearby hill to watch as a “miracle city” (15) begins to appear. The city arrives fully formed with temples, palaces, and thousands of citizens, including soldiers and guards for the palace. The brothers debate what they should do next. They plan to become godlike rulers of the city. Since Hukka is the elder brother, he argues that he should rule the city as king. They agree that Bukka will succeed him. They also agree to exclude their three other brothers. They debate the policies of their new city, agreeing that an army “can be a force for peace as well as war” (18) and that neither of them particular cares about religious differences or sectarian conflict.

As the brothers begin their rule, they notice that the newly created citizens seem unsure about their “sudden existence” (21). The brothers fear that they may be attacked, so they plan to make defenses for the city. As their unsure citizens struggle with their newfound existence, Hukka is crowned. In the following days, Hukka begins his rule. His citizens act “as if everyone had lived there for years” (25), even though they did not exist just a few days earlier. Pampa Kampana arrives in the city and both brothers realize that they are in love with her. She tells Hukka that she will “whisper [the citizens’] dreams into their ears” (26) to give each of them a story and a history. Hukka proposes to make Pampa his queen, but she refuses to be queen of a city without a name.

Part 1, Chapter 3 Summary

A Portuguese man named Domingo Nunes arrives. He has a stutter and loves to travel, telling stories about his adventures to his rapt audiences. He stays in the loft of a stable as he feels an affinity to horses. Bukka does not take kindly to Domingo but introduces him to Pampa and Hukka. Pampa takes a break from her work to meet Domingo, and her relationship to Hukka and Bukka becomes immediately complicated. At this time, she is whispering stories to all the citizens of the city. She invents myths to give the city life. These stories allow Pampa to shape the city’s culture. She plans to create a society where women are treated equally. At the same time, Domingo teaches his hosts about Christianity, which is unfamiliar to them. His struggles to pronounce the local words also lead to the naming of the city: Bisnaga, based on “the noises of his twisted tongue” (33). The rulers of Bisnaga quiz Domingo about the “pale-faced” (34) Europeans and, in particular, the English. Domingo says that the English “may end up being the worst of the whole bunch” (34) of Europeans.

Hukka slowly learns how to be a king. He is jealous of Pampa’s attraction to Domingo, but he knows that he cannot execute the Portuguese traveler—as he would like to do—because this will anger her. Pampa is eventually finished with her whispering. She has created a society where women are able to do work in whatever jobs they please. She visits Domingo, who reveals to her that he knows the secret of gunpowder. He hopes this knowledge will provide him with some protection from the jealous king, as his knowledge of military technology will allow Bisnaga to conquer many surrounding kingdoms. He demonstrates his gunpowder for Hukka and Bukka, who are impressed.

Part 1, Chapter 4 Summary

The “three disreputable brothers” (40) of Hukka and Bukka arrive in Bisnaga. They are named Pukka, Chukka, and Dev. They are “determined not to be cut out of history if there [is] easy wealth to be had” (41). They are surprised by the imposing, muscular women who form Hukka’s royal guard. When they are taken before Hukka, he is still “learning how to lounge regally” (43). To deal with the demanding brothers, Hukka assigns each of them a small army and a member of his trusted female guards. They are given the task of conquering the surrounding cities, which they will then be allowed to rule over as kings (though they will still be subservient to Hukka and be part of the Bisnaga Empire). The female guards are also told to kill the brothers if they do anything to threaten Hukka and Bukka’s power.

As they prepare to depart with their armies, Pukka, Chukka, and Dev debate whether Hukka and Bukka are “in the grip of some wizard who can make the unliving live” (47). As they wage their wars, each of the brothers falls in love with his respective female guard. Chukka falls in love with Commander Shakti; Pukka falls in love with Commander Adi; and Dev falls in love with Commander Gauri. The commanders speak to each other in a secret language, but the brothers cannot help but fall in love. The military expeditions are intended to unite the surrounding kingdoms under Bisnaga’s authority.

Part 1, Chapter 5 Summary

Aware of the king’s jealousy, Domingo makes sure to spend time away from Bisnaga. The empire continues to expand thanks to Domingo’s gunpowder, which makes his value clear. Pampa and Hukka marry, but she continues her sexual relationship with Domingo. She is pragmatic, telling her husband that her marriage with him is essential to “establish the bloodline of the empire” (54) but she refuses to give up her lover. Hukka fears Pampa’s magical powers, so he does not confront his wife. Though his empire expands, Hukka is not happy. Pampa has three daughters, though their resemblance to Domingo means that their parentage is an unspoken secret in Bisnaga. When she cannot provide Hukka with a son, he becomes increasingly unhappy and interested in religion.

On arriving in Bisnaga, Vidyasagar sets up a temple. Hukka partners with him to pursue demonstrations of religiosity. Bisnaga is a city with many religions. Though the “alien faith” (59) of Islam seems strange to polytheistic men like Hukka. Despite the warnings of Pampa and his brothers, Hukka encourages Vidyasagar to expand his temple. During this time, Bukka spends an increasing amount of time at a tavern named the Cashew, which is secretly owned by Domingo. There, Bukka drinks with an old soldier named Haleya Kote, who is not originally from Bisnaga. Bukka is pleased to have someone to talk to, as he and his brother have grown apart. Though they agreed that Bukka would succeed Hukka as king, Bukka is concerned that Hukka plans for one of his children to succeed him. Pampa assures him that the original plan will be followed, but he fears a civil war.

Unknown to many people, Haleya Kote is the author of a critique of religion in the city known as Five Remonstrances. Pamphlet criticizes the decadent, warlike, corruption of the city, as well as practices such as mass religious ceremonies and sodomy. No one suspects that the man who drinks with Bukka in the Cashew is “the empire’s most notorious underground rebel” (64). During this time, Domingo shares his beliefs about Christianity with the people of Bisnaga and documents Bisnaga in his own writing, though he claims that this record is only for his own private interest and not for public consumption. Pampa takes this writing as a sign that he fears Hukka and is preparing to leave the city. She admits to him that she struggles to love people since she will not age at the same rate as others, meaning that she will outlive anyone she loves. Her lovers, her children, and anyone else around her will die. She begins to see her prolonged youth as a curse.

Part 1, Chapter 6 Summary

Perturbed by Pampa’s warning, Domingo drinks heavily with Hukka and Bukka. Domingo dies of a heart attack shortly after Pampa predicts his death, causing the people of Bisnaga to become fearful of her magic. Hukka organizes a Catholic funeral for Domingo, then plans how he can win back his wife’s affections. As his empire continues to expand, his own views become increasingly puritanical. Pampa feels unlike herself. She feels stronger and her sexual desires increase, so she begins to wonder whether she is “sucking the life and beauty” (72) out of her lovers. She becomes attracted to Bukka and, beginning an affair with him, assures him that he remains first in line to the throne.

Hukka prepares his army for a military expedition to kill the sultan of Madurai. He feels as though he is going to his death, as though the holy ghost of Christianity and other armies of phantoms are pursuing him. During this time, the formerly devout Vidyasagar has become corrupt and decadent. He is the closest advisor to Hukka, and Bukka suspects that the religious man is trying to influence the king. When Vidyasagar encourages Hukka to limit the other religions in the city and introduce collective worship, Vidyasagar tells Hukka that this will reinforce his power. Pampa begins to ally herself more firmly with Bukka while Hukka departs on his campaign. He wins an easy victory over the sultan and prepares to return to Bisnaga. Sensing danger, Pampa is concerned that either Chukka, Pukka, or Dev may try to seize power.

Hukka dies while returning to Bisnaga. In spite of competing claims to the throne, Bukka is proclaimed as the next king. His 21-year reign is considered a golden age. He abandons his brother’s increasing puritanism for religious pluralism and tolerance. This displeases Vidyasagar, whose power in the city is diminished. Pampa, who was sexually abused by the monk for many years, is pleased to be able to ignore him.

Part 1, Chapter 7 Summary

On the first day of his reign, Bukka sends for Haleya Kote and tells his old drinking buddy that he knows everything about his secret radicalism. He knows that Haleya is the author of Five Remonstrances. Rather than punish Haleya, however, Bukka reveals that he has fired Vidyasagar as his prime minister. He offers Haleya two-fifths of Vidyasagar’s former duties, in accordance with his belief that two of the five remonstrances are valid. Bukka also marries Pampa. They have three sons together. Pampa has never forgiven Vidyasagar for sexually abusing her as a child. In his newly demoted position as a religious leader, she tells him her plans for the religious future of the city. Her plans for a sexually liberated, egalitarian Bisnaga contrast with Vidyasagar’s conservative puritanism. They become enemies.

Pampa’s ambitions for a sexually liberated Bisnaga include a proliferation of sexually explicit decorations and woodcarvings around the city. Haleya Kote warns Bukka that Pampa’s plans may be backfiring, as people do not want to feel sexually liberated just because Pampa tells them to. They resent her imposition on their lives. Besides, Haleya says, Vidyasagar continues to have many supporters in the city, even in his diminished role. Later, Bukka carefully suggests to his wife that her ideas may be too progressive. She rejects the idea that their empire should be constrained in any way. If the rest of the world is in the 14th century, she says, then Bisnaga should be in the 15th century.

Part 1, Chapter 8 Summary

The three daughters of Pampa and Domingo are named Yotshna, Zerelda, and Yuktasri. By the midpoint of Bukka’s reign, the girls are in their late twenties. Pampa allows her daughters their freedom. She does not force them to marry. Pampa believes that women should have the same rights as men, meaning that she wants her daughters to be able to take over following Bukka’s death. At this time, the three sons of Bukka and Pampa are still children. Their names are Erapalli, Bhagwat, and Gundappa. Motherhood does not come easily to Pampa, particularly as she is always aware that she will outlive her children. Her three boys argue with their mother about the proposal for women to inherit the throne. The princes demand that they alone can inherit the throne, causing Pampa to disown them. Bukka must choose between his sons and his wife. He delays, refusing to commit to either side. Soon, the whole city is enraged.

Eventually, Bukka sides with his wife and sends his sons into exile. Bisnaga becomes “the first and only region in all the land where people could contemplate the idea of a woman sitting alone upon the throne” (99). There is dissention within the empire, however, and Pampa resents that she cannot whisper new stories into their ears because these people now have free will. The three sons are sent to live in exile with the king of Jaffna. The king of Jaffna, resenting his subservient status to Bukka and Bisnaga, helps the three boys to plot a coup. He helps them keep in contact with their disreputable uncles, and Bukka soon has six relatives who all covet the throne. Bukka is distracted by the demands of his empire. While quelling the Zafarabad sultanate, he leaves Pampa in Bisnaga. There, she grows concerned for her daughters’ safety. She hires a Chinese swordsman to teach them combat skills. Grandmaster Li Ye-He helps the daughters and Pampa to develop skills so extraordinary that they appear supernatural. Pampa confesses to her daughters that the growing political unrest signals how she may have overreached with “the equality thing” (106). Vidyasagar’s influence in the city grows, and soon his sermons sound like a call to arms. On learning that her husband’s campaign is not going well, Pampa begins to plot an escape, and Haleya Kote helps her. Bukka eventually signs an uneasy truce with his enemy, but when he returns to Bisnaga, he is sick. Pampa nurses him but understands that he is dying.

With Bukka on the verge of death, his three sons and his three brothers converge on Bisnaga with their armies. Haleya tells Pampa that even though her daughters are legally meant to succeed Bukka, this cannot be guaranteed, especially as many people believe that their true father is Domingo, rather than Hukka. Bukka dies and, after the funeral, Pampa and her daughters are forcibly sequestered in the palace. The daughters have heard a rumor that they will be made to throw themselves on the king’s funeral pyre. The rumor makes Pampa think of when she watched her mother burn herself to death. Haleya Kote and Grandmaster Li Ye-He help the four women to escape to the Enchanted Forest.

Part 1 Analysis

Victory City is presented to the audience as a condensed translation of a fictional 14th-century Sanskrit poem called the Jayaparajaya, written by Pampa Kampana. As such, the novel is not identical with Pampa’s original poem. The Jayaparajaya is filtered through several layers of abstraction before it reaches the audience and each of these layers removes it slightly from its original meaning. The act of translation requires that certain words and meanings are altered out of necessity, while the form and structure of the original poem is completely removed and replaced by a prose summary. The result is that the audience is not reading Pampa’s words as she meant them to be read. Rather, the audience is reading an interpretation of a translation of Pampa’s words, with the narrator choosing which passages to include and exclude. This narrator describes himself as “neither a scholar nor a poet but merely a spinner of yarns” (3), a self-deprecating statement that nonetheless implies an authorial rather than merely editorial degree of control over the narrative. This narrator shapes Pampa’s story for contemporary audiences. The radical nature of Pampa’s desire for a fair and equal society, for example, is filtered through the narrator’s understanding of modern gender politics. It becomes a fable of Patriarchy and the Struggle for Equality for modern readers, in a way that may or may not align with Pampa’s own understanding of gender and power. The result is that Pampa’s words are altered to present her as a proto-feminist figure, with the language of the narrator (as well as the narrator’s commentary and notes on Pampa’s story) subtly reshaping her story in such a way that it becomes impossible to fully disentangle her views from those of her modern translator. Ironically, the presence of this male intermediary undermines Pampa’s desire to tell her own story—and to tell history from a woman’s perspective. Though she has tried to convey her reality and her experiences to the audience, her desire is denied by the editorial intervention of the narrator. The further removed the story becomes from Pampa’s original telling, the more it becomes a myth. The structure of the book demonstrates the many subtle obstacles that Pampa strives to overcome to tell the world about her story.

The city Pampa builds—with the help of Hukka and Bukka—continues through its earliest stages without a name, until a European trader named Domingo Nunes arrives. His faltering version of the local language gives Bisnaga the name that, to Pampa, seems most fitting. The name of the city is an early example of the foreign, outside influence that will shape the reputation of Bisnaga. To Pampa, foreign perceptions of her city are of paramount importance. She wants her project to be recognized throughout the world for the progressive ideals she is attempting to cultivate; her integration of Western ideas, even something as simple as a name, signifies a willingness to look beyond the walls of the newly built city for inspiration. Domingo’s naming of the city also binds him to Bisnaga. In the coming generations, his character will echo across the ages. More Europeans will come, and each time Pampa meets them, she will find some version of Domingo. This reappearance is just one of many indications of The Cyclical Nature of History, something Pampa, with her supernaturally long life, is uniquely positioned to observe. While she loves Domingo, each future version of him is successively less important to her. She will never love a European as she loves Domingo, but the city cannot leave his memory. Just as Pampa is bound to Bisnaga by building the city, Domingo is bound to it by providing it with its name. These separate but similar acts of creation have long-lasting consequences.

The founding of Bisnaga is not only the founding of the physical structures of the city, but also the founding of the dualities that will perpetuate throughout the novel. The rivalries and differences that emerge during this formative period are key to the tension that propels the narrative. Pampa and Vidyasagar know each other from before the founding of the city; he took her into his care when she was a helpless orphan, but then routinely sexually abused her throughout her childhood. After the founding of the city, Pampa refuses to cede ground to Vidyasagar. She wants to build a society in which little girls will no longer have to fear mistreatment from men like Vidyasagar, while he soon finds that he stands to benefit materially from running a temple in the city. The ascetic, hermitlike existence he once lived is abandoned when he realizes that he can establish his own power base. Pampa’s dreams of a progressive, equal society are undermined by her old abuser, as Vidyasagar preaches in the name of conservative, patriarchal values. This battle—between Pampa’s progressivism and the reactionary forces of religion—will resound through the history of Bisnaga, hampering her many times. Vidyasagar’s enmity is built into the foundations of the city, providing Pampa with a constant reminder of why she must strive to change the world and how she will be continually confounded.

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