This paper attempts to explore the issues of global hybridization and diasporic subjects in Salman Rushdie's The Satanic Verses, The concept that globalization is a homogeneous process will be interrogated and I will concentrate on the discussion of the cultural translation of the global diasporic immigrants and their reconfiguration of “culture” and “identity formation” in the global context. In the process of globalization, cultures and individual identities undergo a series of “translations.” These are exemplified by Rushdie’s global immigrants, Saladin Chamcha and Gibreel Fraishta; the former is transformed into a satanic creature and then into something like “chimera craft,” while the latter is translated into an angel, hovering between reality and illusion. Adopting Homi Bhabha's theory of cultural hybridity and cultural translation as well as Jan Nederveen Pieterse's concept of “globalization as hybridization,” I examine the thematic of global hybridization as Rushdie's alternative strategy against nationalist and cultural homogeneity. Then, drawing examples from The Satanic Verses, I argue that the “cultural translation” of Saladin and Gibreel embodies two kinds of encounters with “globalization” in the global city of London. The unique global vision emerging from Rushdie's text suggests that cultures are hybridized in the global context, and global hybridization creates cultural diversity and flexibility. A mélange of diverse. languages, “time-space,” race, class, cultures and religions are delicately compressed in Rushdie's globalized world, whether in metropolitan England or in the Indian subcontinent. I will explore the indigenization of global cultural forms through the example of Gibreel’s hybridized songs. And through Stuart Hall’s vision of global diaspora, I argue that Saladin's route to the recognition of hybrid Indian cultures is important for the relocation of immigrant subjectivity. While Gibreel's tragic suicide indicates the failure of a diasporic subject to change or slow the process of globalization, Saladin's return to Bombay to experience the “edectic” hybridized cultures inherent within the indigenous Indian artistic tradition suggests a revision of global hybridization. The alternative insight in The Satanic Verses is that globalization leads to the production of new identities and to cultural hybridity, bringing newness and vitality to the encounter of the global and the local.