Salman Rushdie and Mera Ben Kavas Sett
The Ground Beneath Her Feet [Signed and limited edition copy] and Omar Khayyam
a) Salman Rushdie, The Ground Beneath Her Feet, London: Jonathan Cape, 1999
575 pages; full black leather, spine stamped in gold, all edges gilt, marbled endpapers, black cloth slipcase
9.5 x 6.5 in
Signed on the half-title page and numbered 55.
b) Mera Ben Kavas Sett, Omar Khayyam, Privately printed by Galloway and Porter, 1914, first edition
5 nn. pages + illustrated title page + 15 unnumbered fully calligraphed and illustrated plates of seventy-five quatrains, each page original composition + 15 plates under captioned tissue guards at the end; original publisher's black cloth with gilt embossed lettering and illustrations to cover and spine.
25.6 x 18.5 x 0.8 cm
One of 250 privately printed copies.
(Set of two)
a) The Ground Beneath Her Feet
A bright and fine copy of the first British limited edition, as indicated on the copyright page. This edition of the book is known to have been issued in 150 copies, but without a limitation statement from the publisher beyond that which appears on the copyright page. This copy has been signed by the author.
Salman Rushdie's 1999 novel, The Ground Beneath Her Feet, is a multifaceted narrative that intertwines themes of love, music, mythology, and cultural exchange as it narrates the lives—across the United States, India, and Europe—of celebrated rock singers Ormus Cama and Vina Apsara. At its core, the novel reimagines the Orpheus and Eurydice myth, transposing it into the world of 20th-century rock 'n' roll. The story follows Vina Apsara, a renowned singer, and Ormus Cama, a gifted songwriter and musician, whose tumultuous romance unfolds against the backdrop of the global music scene.
The narrative is delivered through the perspective of Umeed "Rai" Merchant, a photographer and childhood friend of the protagonists. Rai's storytelling offers a rich tapestry of cultural references, blending Eastern and Western motifs, and delving into the complexities of identity and belonging. The novel is noted for its use of magical realism, a hallmark of Rushdie's style, which serves to blur the lines between reality and fantasy, creating a world where the extraordinary becomes part of the everyday.
One of the novel's distinctive features is its setting in a parallel universe, where historical events are altered. For instance, in this alternate reality, President John F. Kennedy survives the Dallas assassination attempt but is later killed alongside his brother, Robert F. Kennedy. Additionally, Rushdie playfully reassigns classic rock songs to different artists, such as attributing The Rolling Stones' "(I Can't Get No) Satisfaction" to John Lennon. These creative liberties underscore the novel's exploration of the fluidity of history and reality.
The novel also delves into the power of music as a transformative force. The title itself is derived from a song within the story, composed by Ormus Cama after Vina's disappearance. This fictional song was later adapted and recorded by the band U2, bridging the gap between the novel's universe and our own.
Critically, The Ground Beneath Her Feet has been lauded for its ambitious scope and imaginative narrative. Hermione Lee, writing for The Guardian, described it as "a very exciting novel, hugely ambitious and original," praising its blend of popular culture and high art.
The novel's rich intertextuality and cultural commentary offer readers a profound reflection on the intersections of art, love, and the ever-shifting ground of reality.
b) Omar Khayyam
Mera Ben Kavas Sett, had a great reputation as an artist in Europe. The art-loving public held him in high esteem. He was an artist from Persia and aimed to create a unique calligraphic and illustrated rendition of the Rubaiyat of Omar Khayyam. In his 1914 publication, he believed that merely three of the numerous illustrated versions of the Rubaiyat "can be deemed deserving of Omar." These were Rene Bull's (1909), Abanindro Nath Tagore's (1910), and Edmund Dulac's (1913), though she confesses that "I would give a year of my life to see a volume illustrated by Kay Nielsen."
When he attempted to find a publisher, he was informed his edition was "too shocking" and "one likely to offend the sensitivity of respectable English individuals."
"They were ready to bring out my Omar if I changed a few pictures at their dictate and tastes, but I would not so much as a single line or dot. It seems the English (according to their publishers) would rather have the conventional fig leaf than a cluster of roses. I stated the case to my generous father. With his usual kindness and generosity, he offered to stand the piper to the tune of a privately printed edition."
The final version is among the most intriguing Rubaiyats of its time. Upon its republication in India following the First World War, the publisher referenced a purported review of the privately printed edition attributed to Rupert Brooke.
Rupert Brooke, the famous poet, once wrote a two-column critique of Mr. Sett's art. His last paragraph was, "If Mr. Sett has not been universally acclaimed as the greatest draughtsman and decorator living, the fault lies with his own exclusive and publicity-shunning nature. His Omar will have the pride of place in my library."
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