ABSTRACT This article argues that The Satanic Verses does not merely depict offense; its form manufactures it. The author calls this aesthetic (narrative) desecration: formal strategies such as parody, metafiction, framing, and chronotopic fracture convert sacred signifiers (prophethood, revelation, devotion) into secular spectacle. The author also proposes temporal Islamophobia: representing Islam as out of time, belated, or excessive, relative to secular modernity’s norm. Through close readings of the “Mahound” chapters, the brothel/“wives” sequence, and Ayesha’s sea crossing, the author shows how satire and irony function as a governance of belief: they disqualify religious injury, deny coevalness, and recast devotion as symptom. The framework draws on Talal Asad and Saba Mahmood (secular reason, pious life), and Dipesh Chakrabarty (historicism and coeval time). The contribution is twofold: it relocates debate from content to form and names the novel’s canonization as a stylistic defense that aestheticizes harm. The article thus reframes Rushdie’s novel as a literary technology that renders Islamic lifeworlds legible only through desacralization and delay.
Ali Salami (Sun,) studied this question.