"Doubt, it seems to me, is the central condition of a human being in the twentieth century"
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Doubt is doing triple duty here: mood, method, and indictment. Rushdie isn’t praising uncertainty as a tasteful intellectual hobby; he’s describing it as the era’s default weather system. The twentieth century, in his view, didn’t merely complicate belief-it industrialized its breakdown. After genocide with paperwork, wars broadcast into living rooms, and ideologies that promised paradise while building prisons, certainty starts to look less like conviction than a sales pitch.
The line’s quiet force comes from its almost resigned phrasing: “it seems to me.” Even the claim about doubt arrives doubting itself. That’s not verbal weakness; it’s Rushdie modeling the condition he’s diagnosing. Subtext: anyone speaking in absolute terms about the modern world is either lying or recruiting.
Context matters because Rushdie’s novels live in the crossfire between competing certainties-national, religious, colonial, revolutionary. Born into post-Partition India and shaped by migration, he writes from a place where “truth” is rarely singular and often enforced. The Satanic Verses fallout later made that theme literal: doubt wasn’t just philosophical; it became dangerous, even punishable.
There’s also a sly historical jab. The twentieth century loved big capital-letter answers-Progress, Nation, Faith, Science-and also produced their grotesque consequences. Rushdie flips the century’s self-image. The “central condition” isn’t triumph or enlightenment; it’s the uneasy, ethical aftertaste. Doubt becomes a survival skill: not paralysis, but a refusal to let any one story become a weapon without being questioned first.
The line’s quiet force comes from its almost resigned phrasing: “it seems to me.” Even the claim about doubt arrives doubting itself. That’s not verbal weakness; it’s Rushdie modeling the condition he’s diagnosing. Subtext: anyone speaking in absolute terms about the modern world is either lying or recruiting.
Context matters because Rushdie’s novels live in the crossfire between competing certainties-national, religious, colonial, revolutionary. Born into post-Partition India and shaped by migration, he writes from a place where “truth” is rarely singular and often enforced. The Satanic Verses fallout later made that theme literal: doubt wasn’t just philosophical; it became dangerous, even punishable.
There’s also a sly historical jab. The twentieth century loved big capital-letter answers-Progress, Nation, Faith, Science-and also produced their grotesque consequences. Rushdie flips the century’s self-image. The “central condition” isn’t triumph or enlightenment; it’s the uneasy, ethical aftertaste. Doubt becomes a survival skill: not paralysis, but a refusal to let any one story become a weapon without being questioned first.
Quote Details
| Topic | Deep |
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