This chapter considers the ways in which Rushdie’s fiction engages with globalization, a process that intensified in the 1990s and which became a central theme in his fiction from The Moor’s Last Sigh onwards. This is especially pressing in Rushdie’s work in considerations of the global circulation of peoples, goods, and cultural productions, most pertinently explored in The Moor’s Last Sigh, The Ground Beneath Her Feet, and Fury. Focusing both on the aesthetics of these novels and their wider cultural contexts, I argue that Rushdie’s post-fatwa novels showcase a shift in his view of the transglobal world, which can be traced on three levels: the portrayal of space, the role attributed to creativity, and the emotional response globalization elicits.