{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/69380c0d4a9751f83d7c325d/696128c41f21449d6deaca99?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Salman Rushdie is in \"the 9th or 10th hour\"","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/69380c0d4a9751f83d7c325d/1767978177321-b307fad3-8bc1-4875-b972-40c107938461.jpeg?height=200","description":"<p>Born into a Muslim family in Bombay, India, in 1947, two months before the country’s partition, educated in the UK and now resident in New York, Salman Rushdie is a writer of multiple, interconnected worlds. At the heart of his work – ever since he won the 1982 Booker Prize with Midnight’s Children – has been some kind of history: the world’s, his own, or both at once.&nbsp;</p><p><br></p><p>The latest chapter in the history of Rushdie’s life sees the now 78-year-old writer – and survivor of a near-fatal assassination attempt – turn his mind to ageing and dying. That is the unifying thread running through the narratives in his 26th book, the short story collection The Eleventh Hour.&nbsp;</p><p><br></p><p>He sat down with the New Statesman's culture editor, Tanjil Rashid, late last year.</p>","author_name":"The New Statesman"}