The leap itself is a birth, even when it ends in death, in a scramble for white tablets, and the scent of bitter almonds on your belovedвЂ™s breathless mouth.

Nor is it always soft but still, I told myself, still, without that leap nobody comes to life.

Closing our eyes, we leap from that cliff in hope of a soft landing. Ignorantly is how we all fall in love for it is a kind of fall. I tried to see lovelessness as arrogance, for who but the loveless could believe themselves complete, all-seeing, all-wise? To love is to lose omnipotence and omniscience. I wanted to cling to the image of love as the blending of spirits, as mГ©lange, as the triumph of the impure, mongrel, conjoining best of us over what there is in us of the solitary, the isolated, the austere, the dogmatic, the pure of love as democracy, as the victory of the no-man-is-an-island, twoвЂ™s-company Many over the clean, mean, apartheiding Ones. Like in Midnight's Children and Shame, Rushdie emerges as a fabulous storyteller, sailing airily on the waves of his powerful imagination and wit when interweaving the fortunes of the da Gama-Zogoiby families with twentieth century Indian history and religious issues (Partition, Hindu nationalism), blending fiction and real historical events. Deception, hatred, revenge and murder are the ingredients of an exhilarating story ultimately revolving around love: scorching If love is not all, then it is nothing: this principle, and its opposite (I mean, infidelity), collide down all the years of my breathless tale.ДЄnd breath-taking it was, this epic saga on the rise, thriving and fall of four generations of an eccentric, wealthy Indian family - at least, such is the imprint the novel left on me, having read it about twenty years ago.Дeception, hatred, revenge and murder are the ingredients of an exhilarating story ultimately revolving around love: scorching pepper love, motherly love, love of beauty and art (one of the characters, Aurora Zogoiby, is inspired by the painter Amrita Sher-Gil).

And breath-taking it was, this epic saga on the rise, thriving and fall of four generations of an eccentric, wealthy Indian family - at least, such is the imprint the novel left on me, having read it about twenty years ago. If love is not all, then it is nothing: this principle, and its opposite (I mean, infidelity), collide down all the years of my breathless tale. It is a love song to a vanishing world, but also its last hurrah. The Moor's Last Sigh is a spectacularly ambitious, funny, satirical and compassionate novel. As he travels a route that takes him from India to Spain, he leaves behind a labyrinthine tale of mad passions and volcanic family hatreds, of titanic matriarchs and their mesmerised offspring, of premature deaths and curses that strike beyond the grave.

He is also a compulsive storyteller and an exile. Moraes 'Moor' Zogoiby is a 'high-born crossbreed', the last surviving scion of a dynasty of Cochinise spice merchants and crime lords. As he travels a route that takes him from India to Spain, he leaves behind a labyrinthine tale of mad passions and volcanic family hatreds, of Alternate cover for this ISBN can be found here Alternate cover for this ISBN can be found here Moraes 'Moor' Zogoiby is a 'high-born crossbreed', the last surviving scion of a dynasty of Cochinise spice merchants and crime lords.

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