Need an argumentative essay on In Haroun and the Sea of Stories, the question 'What's the use of stories that aren't even true' is asked by four different cha. Needs to be 6 pages. Please no plagiaris

Need an argumentative essay on In Haroun and the Sea of Stories, the question 'What's the use of stories that aren't even true' is asked by four different cha. Needs to be 6 pages. Please no plagiarism.

Sengupta and the Cultmaster, both of whom are paragons of evil in the book, as Mr. Sengupta ran off with Haroun’s mother, and the Cultmaster wants to control the world, is that speech, in the eyes of the evil, does not serve a purpose. Rushdie explores this concept, that oppressive regimes restrict speech, which makes their countries like the dark and loveless Chup, while democratic regimes allow freedom of speech. These democratic countries are like the Gup, which is bathed in light and love. The novel, then, is an allegory for this, as the hero Haroun defeats the forces of evil that are threatening to choke off all stories, which is, in itself, allegorical for the people of oppressive regimes rising up to defeat their totalitarian governments with words. Discussion One way of looking at Haroun and the Sea of Stories is by looking at the life of Salman Rushdie during the time that he wrote the stories. This would provide at least one interpretation for why stories are important if they are not even true, in that sometimes stories are allegorical, in that they stand in for something else entirely. In this case, Krishnan (1995) states that the Haroun and the Sea of Stories is an allegory which explores issues surrounding individual freedom and political authority. It also explores issues regarding the “other,” while exploring issues of opposites which are inherent in colonialism – in colonialism, according to Krishnan (1995), the mentality of the colonialist is one of opposites. Black and white, good and evil, salvation and damnation, civilization and savagery, inferiority and superiority, intelligence and emotions, self and other, subject and object (p. 68). The way that Rushdie explores these themes, according to Krishnan (1995), is by showing opposites in the text. For instance, there are the creatures with the eyes which are turned inside out – the “whites” of the eyes being black, the irises being grey, and the pupils being white. Other binary opposites are silence and speech – silence is on Chup, as is darkness. speech is on Gup, which is always in the light (Rushdie, 1990). “Gup is bright and Chup is dark. Gup is warm and Chup is freezing cold. Guppees love the ocean, Chupwalas try to poison it. Guppees love stories, and speech. Chupwalas, it seems, hate these things just as strongly. It was a war between Love…and Death” (p. 125). This is clearly a protest against the oppressive regimes in the Middle East and of the Islamic countries that would silence Rushdie and others for speaking out against their regimes and insulting the Muslim religion – and this is still a problem today, as witnessed by some of the protests that occur when the Muslim religion is slighted by the Western world. These countries, where freedom of speech is not valued, and any other country where freedom of speech is restricted, is the equivalent to the Chup of darkness. The democratic countries, such as Great Britain and the United States, which are democratic and value freedom of speech, is the binary of the oppressive regimes, and these countries are represented by the Gup. As Krishnan (1995) notes, it was during the time that Rushdie was publishing his Haroun novel that he was under a fatwa, which means that he was marked for death, because of his publication of The Satanic Verses (Krishnan, 1995).