[...] Rushdie emerged from the fatwa a damaged writer, his puns reflexes, his recourse to myth and fable showing signs of hackery. He took to appearing onstage with U2, grinning with Bono under the suspended Trabants of their Zooropa tour. To view him now — witty but humorless, soft and thick with moneyed confidence — is to view a wreck. The books are soft, too; the reviewers’ knives don’t even need sharpening. Rushdie himself reviewed Naipaul’s latest in 1987, for the Guardian: “I think it was Borges who said that in a riddle to which the answer is knife, the only word that cannot be employed is knife. There is one word I can find nowhere in the text of The Enigma of Arrival. That word is ‘love.’” For Rushdie, this made the book “very, very sad.” There’s something in this: if later Rushdie seems estranged from earlier Rushdie, the sadness, the lovelessness, he rightly identified in Naipaul’s work comes from Naipaul’s persistent implication that the only legitimate escape from “half-made” postcolonial countries is to become V. S. Naipaul.