"Joseph Anton - A Memoir," by Salman Rushdie - NYTimes.com Salman Rushdie's memoir is many books in one book. It's a personal story that takes place at the center of an international crisis: the Ayatollah Ruhollah Khomeini's 1989 denunciation of the author's fourth novel, "The Satanic Verses," as a work of blasphemy against Islam, and his call for Rushdie's death. It's a portrait of the artist as a young man that describes his influences, obsessions and ambitions as well as his rise in the publishing world. It's a record of his relocation from Bombay to London to New York, where he settled in 2000. It's an intimate tale of fathers and sons, of the beginnings and ends of marriages, of friendships and betrayals. At the same time, "Joseph Anton" is a large-scale spectacle of political and cultural conflicts during an era in which, Rushdie writes, "incompatible realities frequently collided with one another." The death decree, or fatwa, would come to be seen by some as an early signal of a clash of absolutes that would lead up to 9/11 and into our tinderbox present - of the continuing struggle between religious belief in the immutable word of God on one hand and secular faith in the unconditional right of free speech on the other. One unifying theme that emerges from this multilayered account is the concept of flight - though here that word assumes a double identity. Flight from the fatwa meant a "fretful, scuttling existence" in which the author, a 41-year-old British citizen, abandoned his home in the London neighborhood of Islington and dashed from one safe house to another around the United Kingdom. While Rushdie located and paid for these dozens of hide-outs himself, the British government provided him with nine years of round-the-clock protection by the "A" Squad of the Special Branch of the Metropolitan Police, who in turn answered to Britain's intelligence services. If flight meant forced departure, for Rushdie it also meant an insistence on certain freedoms. Most critically, he would not give up his literary life, his flights of fancy. Battling depression and writer's block, he managed during this time to write a major novel, "The Moor's Last Sigh," along with a charming children's book called "Haroun and the Sea of Stories," at his young son's insistence. He collected a volume of short fiction ("East, West") and another of essays ("Imaginary Homelands"). He wrote book reviews, poems and op-ed essays. Whether large or small, every completed piece of writing felt, to him, like "victory over the forces of darkness." Who shall have control over the story? Who has, who should have, the power not only to tell the stories with which, and within which, we all lived, but also to say in what manner those stories may be told? Rushdie is right to pose the conflict over "The Satanic Verses" as a question not of ideology but of power and control. And he is right to claim his own story after many humiliating years of surrendering that story to other people, most of whom transformed it for their own purposes. But the question of control is also a tricky issue in Rushdie's own writing. His novels are giant winged contraptions, packed to capacity, hurtling across time and space, "pitting levity against gravity," as he describes one of his airborne protagonists at the beginning of "The Satanic Verses." At their best, Rushdie's imaginative machines attain lift and remain thrillingly aloft. At their worst, their centers cannot hold, and they spin into pieces. In "Joseph Anton," which Rushdie has composed very much like a novel, both these scenarios come to pass. There are sections where the narrative soars, and more than a few in which it plummets. One of the memoir's novelistic approaches is its perspective, which shifts from the autobiographical "I" to "he." It's not as mannered a choice as it sounds in a narrative consumed, as much of Rushdie's writing is, with the multiplicity of identity. "He was a new self now," he realized after news of the fatwa reached him. In fact he split into several selves: not just the Salman his friends and family knew but also a "Rushdie" reviled by screaming demonstrators in England and abroad, "an effigy, an absence, something less than human"; and reproached, too, by many unsympathetic compatriots in the Western press. The sense of fracture was heightened when the police insisted he invent an alias so he could write checks without being identified. He came up with "Joseph Anton," the first names of two favorite writers, Conrad and Chekhov. Not lost on him was the peculiarity that a man who invented characters for a living had now "turned himself into a sort of fictional character as well." Donna Rifkind is writing a book about the screenwriter Salka Viertel and her Hollywood émigré salon.