One of the hallmarks of Rushdie's vibrant character development is his selection of names. Early in his career, in 1983, just two years after the release of the groundbreaking novel Midnight's Children, Rushdie articulated his fascination, stating, "It is impossible to overestimate the importance of names. I think they affect us much, much more profoundly than we think . . . naming has always been understood as being absolutely crucial to perception. So that's why I'm very interested in naming and I take enormous amounts of care about naming." This deep commitment to the naming process, which Rushdie referred to as "the thing I agonize over most," has only intensified in his later works. The Moor's Last Sigh exemplifies how crucial names are in character introduction.

The titular "Moor," Moraes Zogoiby—a contemporary echo of the last Moorish sultan of Granada—is affectionately called "The Moor" (or mor) by his mother, as a nod to the lost Moorish Spain she revives in her art under the mythical name "Mooristan." Moraes, being a kind of descendant of Mohammad XI, has a nickname that reflects his present state, notably through the derogatory "Mo," which suggests a reduction (in stature or status) by evoking the stooge "Moe"—a typical infusion of popular culture in Rushdie's writing. This nickname also morphs into Mo-Hammered, highlighting his club-like, malformed hand and serving as a playful nod to Mohammad. The surname Zogoiby translates to unlucky or unfortunate in Arabic. Moraes's father, Abraham, is described as "not Moses . . . he would lead no people towards a promised land." His mother, Aurora, symbolizes light and understanding, her name evoking the image of dawn. Their three daughters, Christina, Inamorata, and Philomina, are affectionately called "Ina," "Mirmie," and "Mynah," each with unique connotations (Minnie = Mouse, another modern, cross-cultural reference) but collectively forming parts of a nursery rhyme that concludes with Moraes's Mo.

The "dynastic prelude" alludes to the historical significance of the Da Gama name, reminiscent of an era of exploration. Camoens is intended to invoke the memory of the illustrious Portuguese poet, Luis Vaz de Camoens, from the fourteenth century. Camoens was born the same year Vasco da Gama passed away, which was also when Portugal became part of the Spanish empire. The poet endured years of exile in Goa and Cochin, and his poetic homage to da Gama reflects on the notion of empire. While not every reader of The Moor's Last Sigh will grasp each reference, these cultural and historical elements enrich the novel's intricate texture. The book's main antagonist, Raman Fielding, is nicknamed Mainduck and compared to a frog. The deranged individual who confines Moraes in the Alhambra is named Vasco Miranda. The woman who betrays Moraes's affection is called Uma Sarasvati, a name rich with meanings in Indian theology. The social climber who becomes Abraham Zogoiby's adopted son was once Adam Braganza, and before that, Adam Sinai, and is mockingly referred to as "Dumbo," "Goofo," "Mutto," "Crooko," and "Sabu" in Moraes's sarcastic list of comic book names. Numerous minor characters have names that effectively replace any character development in Rushdie's perpetually suggestive narrative, such as the Larios sisters, Felicitas and Renegada. Other names serve as character commentaries, like Nadia Wadia, the well-intentioned but naive contestant representing India in the Miss Universe pageant. Some names are symbolic, such as Aoi Ue, a Japanese woman who is Moraes's soul mate and fellow captive, whose name is described as "a miracle of vowels," reflecting her deep connection to fundamental humane values.

In The Moor's Last Sigh , Rushdie crafts characters with depth, primarily focusing on Moraes's immediate family,...