CU-MA-SEM-III-Specialization I – Post Colonial Novel- Second review

MASTER OF ARTS ENGLISH SEMESTER-III SPECIALIZATION: IPOSTCOLONIAL NOVEL MAE617

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CONTENT Unit-1 Post-Colonial Novel: An Introduction ........................................................................ 5 Unit-2 Salman Rushdie: The Novelist ................................................................................. 27 Unit-3 Salman Rushdie: Midnight’s Children...................................................................... 46 Unit-4 Chinua Achebe And African English Literature ....................................................... 75 Unit-5 Chinua Achebe: Things Fall Apart ........................................................................... 94 Unit-6 Literary Terms ....................................................................................................... 121 Unit-7 J. M. Coetzee: The Writer ...................................................................................... 158 Unit-8 J. M. Coetzee: Disgrace.......................................................................................... 178 Unit-9: Gabriel Garcia Marquez: The Writer ..................................................................... 211 Unit-10: Gabriel Garcia Marquez: One Hundred Years Of Solitude .................................. 227 4 CU IDOL SELF LEARNING MATERIAL (SLM)

UNIT-1 POST-COLONIAL NOVEL: AN INTRODUCTION Structure 1.0 Learning Objectives 1.1 Introduction 1.2 Definition of Postcolonial Novel 1.3 Postcolonial Novel and its Characteristics 1.4 Purposes of the Postcolonial Novel 1.5 Introduction to Postcolonial Writers 1.6 Summary 1.7 Keywords 1.8 Learning Activity 1.9 Unit End Questions 1.10 References 1.0 LEARNING OBJECTIVES At the end of this unit, student will be able to:  Explain the various characteristics of a postcolonial novel.  Evaluate a novel for its postcolonial nature.  Define and familiarize themselves with various postcolonial writers. 11.1 INTRODUCTION A novel is a relatively long work of narrative fiction, usually written in prose form, and typically published as a book. The word novel comes from the Italian word novella, which means \"new\" or \"a short description of something new\". The novella is taken from Latin word which is a fix plural of Novellus plus small of Novus (signifies \"new\"). Romance was the popular word among the novelists like Ann Radcliffe, Nathaniel Hawthorne, Herman Melville, John Cowper Powys. 5 CU IDOL SELF LEARNING MATERIAL (SLM)

Margaret Doody says the novel represents \"an uninterrupted and inclusive record of nearly 2000 years\". She claims in which the narrative has its roots in the classical Greek, in Roman narratives, in Chivalric romance, in the traditional Italian renaissance novella. The ancient romance form, such as the Walter Scott and the Gothic traditional romances are revived by the romanticism. Some novelists (M. H. Abrams and Walter Scott) think that a novel is a fictional narrative that depicts an actual picture of society, while romance encircles around a narrative that are fictional and that astonishing or peculiar incidents. The examples of fictional novels that depict astonishing or peculiar incidents are:  To Kill a Mockingbird  Frankenstein  The Lord of The Rings Astonishing and unusual incidents are the focal point of \"Romances\", whereas romantic love is the focus of romance novels. Tale of Genji by Murasaki Shikibu, an early 11th-century Japanese text at times, considered as the first novel of the world, still there is a discourse over this — assuredly, long fictional works were there much earlier. The classical Chinese novels by the Ming dynasty (1368– 1644) rises with the use of printed books in China. Hayy ibn Yaqdhan by Ibn Tufayl (the Sufi writer) is an early example from Europe. The printing press origination led to more developments. The author of Don Quixote, Miguel de Cervantes, recognized as the first outstanding modern era novelist from Europe. The first part of Don Quixote came in 1605. In 'The Rise of the Novel' (1957) . Ian Watt mentioned that in the early 18th century the modern novel was originated. The best way to define postcolonial literature is to think of the term postcolonialism and think about how it came into use from the late 1980s to present times in literary interpretations. The term is written in two forms or ways: hyphenated, and the other one is unhyphenated. These two forms show the same areas of interest by different critics. At first, scientists and economists used the hyphenated version to designate the time after colonialism, but from the late seventies, under influence of literary critics it was turned into a deep cultural analysis. The unhyphenated version usually differentiates it from earlier procedure that is referred only for specific time and show a propensity toward literary criticism and various discussion analysis on the basis of race, gender, and diaspora, among others. Until the end of the 18th century the Italian word novella or novel (formal term) was not used. The term was first used during the Medieval Period to describe a narrative that imparts opinion, feelings, and point of view of the society. The motive of the novel is to provide a simplified, connected, and well-organized narrative to the readers. The components of the novel must be clearly knitted to portray human condition. 6 CU IDOL SELF LEARNING MATERIAL (SLM)

The protagonist is showered more attention, than to the plot in the contemporary world of novels. In addition, the realism plays a significant role in the novel. The novels are fictional narratives, but truism is the hidden element in all narratives which is based on human actions, conduct, and ways they interact. Thus, the plot of a novel must be planned logically, it means it should look the way they could happen in daily life. For example, aging, rational time sequences, conventional plan, etc. 1.2 POSTCOLONIAL NOVEL What is Postcolonial Literature? The best way to define postcolonial literature is to think of the term postcolonialism and think about how it came into use from the late 1980s to present times in literary interpretations. The term is written in two forms or ways: hyphenated, and the other one is unhyphenated. These two forms show the same interest by different critics. From the start, hyphenated form is utilized by the researchers and business analysts to show the time after expansionism, however under the effect of scholarly pundits from the last part of the seventies, it was changing into a profound social examination. The unhyphenated version usually differentiates it from earlier procedure that is referred only for specific time and show a propensity toward literary criticism and various discussion analysis on the basis of race, gender, and diaspora, among others. Postcolonialism requires the expansionism experience and its effects in over a significant time span, both at the neighbourhood level (ex-frontier social orders) and at the degree of more broad worldwide advancements viewed as the delayed consequences of the realm. Postcolonialism includes discussion on different experiences:  Slavery, resistance, suppression, and migration,  Difference in race, sex, and place of origin  Discussion on stately Europe such as linguistics, history, anthropology, and philosophy Postcolonism is about circumstances under expansionism and dominion and conditions after the finish of imperialism. The racial subgroups in the west were likewise matter of worry for postcolonial pundits. This remembers accepting Native as well as African Americans for the United States, African Caribbean and the British Asians in the UK, Aborigines in Canada and Australia, among others. All these features of postcolonialism offer: i. Far-reaching of applications ii. designate a perpetual interaction besides slippage among the historical evolution sense iii. Socio-cultural location 7 CU IDOL SELF LEARNING MATERIAL (SLM)

iv. Configuring an epochal For shaping postcolonial studies, Edward Said’s Orientalism (1978) plays an important role. Said stated that there is a direct connection between the knowledge produced by the oriental scholars and ow to assign it in the constitution of colonial rule. The developments that help to structure the field of postcolonial studies must be seen as a long process and not a series of events. The inspiration for this process comes from different sources, sometimes not in concern with colonialism. These can be found in an assortment of instructions: a. In changing the substance of worldwide legislative issues with the rise of recently free states b. In the wide re-assessment started during the 1980s of the exclusionary types of western explanation and the methodology of their inclusion with royal extension and colonialist rule c. In the conversations that seethed about experimentation and culturalism in the sociologies from the 1960s d. In the difficulties to prevailing talks from women's activist, gay, lesbian, and ethnic investigations during the 1970s and 1980s. Postcolonial literature portrays every one of these circumstances as well as originates from different sources and inspiration. It includes works: Serial Number Book Name Authors name 1 100 Years of Solitude Samuel Beckett Murphy, Gabriel 2 Midnight’s Children Garcia Marquez 3 Things Fall Apart Salman Rushdie Chinua Achebe 4 Season of Migration to the North Tayeb Salih 5 Beloved Toni Morrison 6 Waiting for the Barbarians J.M. Coetzee 7 The English Patient Michael Ondaatje 8 The God of Small Things Arundhati Roy 9 We Need New Names No Violet Bulawayo 10 White Teeth Zadie Smith 11 Behold the Dreamers Ingolo Mbue 8 CU IDOL SELF LEARNING MATERIAL (SLM)

Othello, Antony and Cleopatra, and The Tempest by Shakespeare are considered as the conspicuous writings for the use of postcolonial methods of investigation. This shows that postcolonial writing is a wide term that encases writing by individuals from the recent frontier world, and from shifted diasporas who live in the west. From an assortment of new and different perspectives, the Postcolonialism expression is utilized to re-clarify western standard writing. 1.3 CHARACTERISTICS OF POSTCOLONIAL NOVEL The novel has been an artistic, aesthetic, and beautiful choice for postcolonial scholars. While postcolonial writers are immensely impacted by the novel and its(novel) studies that have had the greatest effect in the field. The focus on the novel shows a shift of attention from poetry towards narrative, but we can credit the novel’s predominance in postcolonial studies to three factors: The representational nature of the novel Heteroglossic structure The function of the chronotype in the novel The novel's representational power and its ability to allow people to strongly believe in their identity and history are of significant value for postcolonial writers. Poetry is cons socially, locally, and ethically specific, whereas the novel is more approachable, general, and public. The genre of the artistic work (novel) depicts a world from which it comes. A critic might observe how a novel provides a nationhood narrative or how it works in the context of decolonization and resistance efforts. Postcolonial scholars do not restrict their curiosity in representation and identity only. Edward Said wrote on the novels of the empire, scrutinizing the way they show the connection between empire and colony. For exploring the novel as a representational form, it is essential to examine the whole question of representation. This representation issue develops within many divisions of literary studies. Basically, in postcolonial studies, we can categorize our questions into three areas: authorship and origin, genre, and language. Hence the question arises whether the postcolonial writers prefer writing in English or the nation’s native language. Is there a need to study literature written in English, or is there a need to study translated work? Postcolonial critics exploring the ways how the newly formed nation speaks have found its identity in the heteroglossia structure of the novel. Heteroglossia is a term given by Mikhail Bakhtin to explain the novel's organization of culturally varied and competing discussions. 9 CU IDOL SELF LEARNING MATERIAL (SLM)

The many voices present in the novel are given special attention in postcolonial studies. Sometimes by boosting the voices never heard in traditional literary study in the endeavour to highlight the diversified nature of the novel and the nation. Another term coined by Bakhtin in the studies of the novel is chronotype. The term chronotype is not as important for those concentrating on issues of representation, identity, and heteroglossia, but it is significant in the work of postmodern novelists like Salman Rushdie and critics like Homi Bhabha. Bakhtin defines chronotype as “the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature … [it] is the primary means for materializing time in space … a centre for concretizing representation”. The time and space connection must follow the narrative, make sure that the narrative must not be led by the connection. For nation building and its maintenance grafting of time and space is very necessary. Moreover, novel the country should describe itself by building association between space pointers (self-assertive boundaries) and time markers (stories, occasions, scenes, minutes). Postcolonial scholars analyse the novel as grafting part as well as a nation-building process model. The principal themes developed in postcolonial fiction are:  Exile and alienation  Struggle, Rebel, and oppose of colonial powers  Mix identities, multiculturalism, and establishment of cultural autonomy Exile and alienation are physical as well as figurative in postcolonial fiction. When the colonial power controls the protagonist or another character or a member of an indigenous with the aim to get an education or to get work travels to colonizers' land then we say that exile happens. To become a part of society in the colonizing nation the subjects adapt the cultural and social values or attributes of the colonizing nation. So, homecoming of the post- colonial subject is impossible due to the psychological changes. Next is physical exile happens due to political reasons: i. The subject opposes the government and banished ii. The subject leaves the homeland because colonial and postcolonial rules contaminated the environment of the homeland Alienationis an exile that represents search for the self. In the native land the colonial terms in the help the native language, culture, and education that are not satisfactory to the colonizers' aesthetic and ruling system. The protagonist is persuaded by the cultural suppression to search for optimistic side of the self. At first, the protagonist in exploring self can be shattered, split, questioned, eventually lead to alienation. Alienation and exile are the similar because the subject neither physically nor mentally present in the native land. When the resident of the homeland accused of breaking colonial law then this leads to physical alienation, further lead to the subject’s abrogation of privileges of the society. Alienation is 10 CU IDOL SELF LEARNING MATERIAL (SLM)

psychological postcolonial fiction and represents the estrangement or feeling of homelessness. The alienation of subject by the Eurocentric imperial system and never accept them culturally and racially. Simultaneously, the subjects (alienated) either accept the colonial system or reject the system because they could speak the colonizers' language and obtained their education. James Joyce’s Ulysses ((1922) has in-depth explored exile and search for the self. Though its main characters never left Dublin, but the novel portrays a modern parallel to Homer’s Odyssey. In the story a man faces alienation from native land, exiles to unknown lands, and looks for a way to home, or we can say he is probing his own self. The novel is not about centuries of struggle for Ireland’s freedom from British rule. The story action happens in a day and the plot is Stephen starts his day and Bloom making his way home. The novel is divided into different levels: literal, mythical, and metaphorical. One of level came from Irish struggle for political autonomy and Ireland’s British occupation. The story show Bloom’s journey, going and his home returning as a consideration of Irish subjectivity. The readers understand that Bloom is neither an Irishman and nor a product of British colonial rule. The novel provides details of Bloom’s family origin; Molly (his wife) was brought up in Gibraltar, and Bloom is having multicultural English which is a blend of Italian, Irishisms, and Greek language. This modern odyssey depicts that an exploring self will reveal that identity is not pure culturally. The novel also proves that when one separate from his home then the belief in self is lost. The Castle of My Skin: a prototypical novel of exile and alienation by George Lamming. The writer’s autobiographical description (bildungsroman) depicts his childhood (in Barbodos) from his perspective at the age of twenty-three. The alienation faced by him in the colonizers’ capital is discussed over here. This recount of his childhood builds the narrative parallel to the final stages of colonialism against the background of rising nationalism. The writer’s childhood development:  Devastating floods  Strike and riots across the island  Riots when he was nine years  Village land sold when he joins his first job in neighbouring Trinidad Above developments parallel the loss of innocence (i.e., cultural). When the protagonist left his village collapse, thus: i. Comparing childhood innocence loss and disruption in the cultural identity ii. Correlating exile and alienation iii. Damage to native lands due to colonization. The narrator recounts and realizes the damaged caused to his native land with physical and psychological feeling of alienation. Only from exile state, he can recount his story. The home 11 CU IDOL SELF LEARNING MATERIAL (SLM)

he can reconcile with is the fictional home represented in the story and left with shelter that is his body. Alienation is not from a ruling culture, but can be from their customs, values, language, and aesthetic practices, which has created a platform for postcolonial writings to include concerns about the men mistreating women. The Fire on the Mountain (1977) by Anita Desai based on the theme of exile depicts the alienation (aesthetic and social) of Indian women. Nanda Kaul has retired to a mountaintop in Punjab after fulfilling her responsibilities. This exile into retirement was life-changing moment for her. In the beginning, she was depicted as a perfect Indian woman who is dignified, gentle, honest, and clear. Nanda canvased her early life colourfully, which includes her childhood, her parent’s instructions that the society holds girls as inferior, and her married life. Later she discloses the unpleasant side of her past:  Nanda’s father was mostly stay away from their house  Nanda never receives gifts from him  Nanda’s husband never respected her ( he kept a mistress)  Nanda never shared a strong good bond with her children. The novel introduces a one more minor character of Ila Das, who has gone through an unfortunate life experience. Ila is Nanda's childhood friend who has retarded growth; she is stupid, not attractive, and ill-mannered. Ila lost her father at young age, Ila’s mother was not accepted by the family, and Ila’s brothers wasted the family wealth. Many times, Nanda’ husband and Nanda helped Ila by arranging occupation for her. Due to a lack of survival skills, she faces a lot of problems. In an unfortunate incident she was molested and murdered in the streets. This incident bought change in Nanda’s life, and excepts the social alienation she has gone through her entire life. Later she performs the custom of walking on hot coals and associate with the god of fire (Agni). This represents her alienation, uplifting her, symbolic, metamorphic level. Struggle and Opposition Postcolonial fiction themes also distinguished as tension between:  Colonized and colonizer  Emerging postcolonial society and the old colonial society These diverse themes exit in the story and overrun within the same story, but it is a case when one theme overlaps the other themes. When social and political tension theme overshadows the others, the tension between colonizer and colonized develops. For instance, A Passage to India (1924) by E. M. Forster. In the book the colonial tensions end up in the courtroom when during an outing to famous caves. Dr. Aziz, a reputed Indian citizen is blamed of attacking an Englishwoman named Adela Quested. The polemics reach to the critical level. In the story the Indians firmly believe 12 CU IDOL SELF LEARNING MATERIAL (SLM)

in the innocence of Aziz, while the British thinks that Aziz is a nasty local incapable of hold himself when near a white woman. Ultimately, the moment of truth occurs when Adela withdraws her charges against Aziz. So, the confrontation between colonized and colonizer is depicted as an issue of guilt or innocence. At the end of the story and Adela renounce her accusation. Here, we see that anxiously British drag Aziz to trial to check how the Indians fight, so this show how imperialism advances the disdain and doubt. Frontier scorn and question is described in the story, it shows how one country's administration assumes control over another nation's privileges to administer which induce disdain and doubt. Essentially, Things Fall Apart by Achebe's portrays the contention (previously and during colonization) in the Igbo people group. Before colonization clashes existed among individuals of Igbo people group, however these struggles could be settled. With colonization the hardship of Igbo religion started, and clashes caused savagery and demise. The last expressions of the novel and the locale chief book's title show the British commitment in African history. Multiculturalism and Identity Pioneer rule controls the way of life and accounts of different countries. It was never cultivated without struggle, fight, and obstruction. Impacts of expansionism:  Colonized people groups endure distance and physical/mental outcast  Two particular classes: colonized and colonizer were framed  Blending of dialects, races, societies, and frameworks of convictions and qualities. This mixing of societies builds up another topic in postcolonial fiction, and spread in the more extensive setting of setting up personality: i. What character left by the colonized country individuals following quite a while of unfamiliar occupation, schooling and involvement with Europe? ii. What social character is left when an Indian parent communicate in Hindi, yet their kids talk just English? iii. What verifiable inheritance exist locally when colonizers revamps its set of experiences and the law of an unfamiliar land overrules its laws? The need for personality can't be forced by infringement and home interruption by unfamiliar forces. A House for Mr. Biswas distributed in 1961 by V. S. Naipaul. The hero in the novel, Mr. Biswas, a Hindu occupant of Trinidad needs to purchase a house yet can't manage. This represents opportunity and character. He endures with hardship, aloofness, and rout. Comparing to colonizing powers is the Tulsi who disregarded Mr. Biswas and to whom Mrs.Biswas stays devoted. At last, Biswas buys the house, which represents his confidence, nobility and freedom. Mr.Biswas house represents the inadequacy and hardship the minority bunches insight to accomplish social freedom. The book is an allegory. It is old and need fix, 13 CU IDOL SELF LEARNING MATERIAL (SLM)

however it has a place with him in particular. Naipaul was granted the Nobel Prize in Literature In 2001 for his \"works that urge us to see the presence of stifled chronicles.\" Some postcolonial novelists developed the themes:  Enslavement of Africans by American and European  Black people oppression in the United States  Minority cultures faced forced assimilation in North America of (Native Americans, Latinos, and Asian immigrants) Some addressed North Africans and their descendants lives in Germany. The postcolonial narratives bothers about the political and cultural situation developed by the colonial project, and the aggressive and harsh tension between colonizer and colonized. 1.4 PURPOSES OF THE POSTCOLONIAL NOVEL History is Written by the Victors Though post-colonial criticism is equivalent to studies of culture, but a unique perspective on literature and politics that demands a separate discussion is assumed. Especially, post- colonial critics bothered about literary works created by colonialism and those who are colonized. The hypothesis of Post-expansionism manages various issues (financial matters, power, legislative issues, religion, and culture) and analyses how these issues work under pioneer initiative. So, checks how western colonizers control the colonized. Accordingly, a post-provincial pundit may be keen on works like Daniel Defoe's Robinson Crusoe where pilgrim \"...ideology [is] show in Crusoe's colonialist demeanour toward the land whereupon he's wrecked and toward the individual of colour he 'colonizes' and names Friday\" (Tyson 377). In addition, the hypothesis of post-expansionism may bring up that \"...despite Heart of Darkness' (Joseph Conrad) clear enemy of settler plan, the novel focuses to the colonized populace as the norm of brutality to which Europeans are differentiated\" (Tyson 375). Post-provincial analysis structure writing formed by writers that break down the Euro-driven authority. A Unique Perspective on Empire A ton of stories dependent on colonized individuals enduring are composed by Nigerian creator Chinua Achebe and Kenyan creator Ngugi wa Thiong'o. For example, in Things Fall Apart, Achebe shows the obliteration that begins when the British entered their inland from the Nigerian coast. Rather lauding the European homesteaders and their impact, Achebe discusses the overwhelming occasions, for example, subjugation and demise of Nigerians expanded when 14 CU IDOL SELF LEARNING MATERIAL (SLM)

the British forced their administration rule. The most exceedingly terrible impacts brought about by the Western religion and financial aspects on Nigerians is depicted in the novel. Power, Hegemony and Literature Knowledge-making dominant forms are:  Western literary canon  Western history The pundits of post colonism investigate the expressions \"First World,\" \"Second World,\" \"Third World\" and \"Fourth World\" countries in light of the fact that the prevailing situation of Western societies is reinforced by populating First World status. From the point of view of societies of First World scholarly standards and accounts are composed. So, the works remembered for \"the standard\" may examined by a post-provincial pundit since it doesn't contain works by creators outside Western culture. Besides, Heart of Darkness is a successful investigation of pioneer conduct. Be that as it may, post-provincial scholars and creators may differ : \"...as Chinua Achebe notices, the novel's judgment of European depends on a meaning of Africans as savages: underneath their facade of human progress, the Europeans are, the novel advises us, as primitive as the Africans. What's more, in reality, Achebe noticed, the novel depicts Africans as a pre-noteworthy mass of excited, yelling, inconceivable barbarians...\" (Tyson 374-375). From countries, for example, India which remade itself following developments of decolonization and freedom from the British Empire arose a writing which has been crucial for the meaning of the post-pioneer an area, its kin and culture. Postcolonial writing has raised discussions important for the examination of the artistic, social and public character of countries, for example, India as a result of its structure and what it suggests through its structure. This is a writing which has been described by the language utilized in the composition, the references to its provincial legacy, the portrayal of characters and spaces and the composition and revising of verifiable occasions. As a result of the way that the postcolonial country, its writing, culture and individuals are not just depicted through writing in English which agrees to its predefined type of 'postcolonial writing' the continuous discussion on how it is feasible to characterize a classification that accepts the country, and its kin overall is still today an exceptionally pertinent one. According to Stephen Selmon and as stated in his paper, “Unsettling the Empire: Resistance Theory for the Second World” (1990) the idea of the postcolonial, as a field for the interpretation of social, cultural or political forms “has always been Second-World literary writing rather than Second-World critical writing which has occupied the vanguard of a Second-World post-colonial literary or critical theory” (Selmon 1990:102). Following on from this idea, and as I will discuss, it is the writing which fits into the category of 15 CU IDOL SELF LEARNING MATERIAL (SLM)

‘postcolonial fiction’ that has influenced much of the theory in this field of study whose scientific nature stretches from history to literature, also exploring changes in language, in society and its people, in the economy and politics of India and other forms of cultural and artistic expression. Over the decades, it is mainly writers who have been defining and redefining the idea of the postcolonial form and postcolonialism as, and how theory reflections on these ideas also serves the concept of nation-building, but simultaneously writers have also been defining and Aziz to trial and redefining themselves, their literary form and their identity as Indian, diasporic and global. As humans, we make sense of ourselves and our world at any given moment through the reconstruction of our experiences and past as meaningful within a broader context. The construction of a meaningful history, that which provides a structure for our present existence, is only possible through individual actions and experiences, as related to broader circumstances and contexts, and how these are interpreted individually and even reconstituted and reinterpreted through memory. In the almost seventy years that have passed from the time of Independence in India, postcolonial writers have become agents for the global spread of Indian history, culture and identity. Recently, on August 5th, 2017, The Guardian published an article entitled “Partition 70 years on: Salman Rushdie, Kamila Shamsie and other writers reflect” which supports the claim that writers are still important reference points for an understanding of the past, even if they did not experience it first-hand as in the case of Kiran Desai. Fiction which is art has become an accepted form of depicting the postcolonial reality to a global audience (along with other art forms, practices and products, of course). As the demand and interest grew and continues to grow, for more, a market opened for this nation and its cultural metaphors. And along with the pleasure of reading these novels came the acquisition of knowledge of India leading to the creation of the academic and theoretical branch. Over the decades, postcolonialism has blossomed into a vibrant academic and theoretical field for research, and by now, well into the 21st century, it is inevitably beginning to raise debates of another nature that are necessary for the ongoing debate on how this historical fact has influenced the contemporary society undergoing constant social, cultural, economic and political changes, as I will go on to discuss further on in this paper. Returning to the decades following the independence of India and the boom of postcolonial literature from this emerging nation and its people reconstructing their national and cultural identity, what characteristics did these novels possess that appealed to Western readers? To start, these narratives by writers such as Salman Rushdie, Anita Desai, Amitav Ghosh and others, were written in English, making them accessible as first-hand texts to the world, even though most did play with language and make use of linguistic devices that fuse Indian languages with English. This practice turned out to be a ‘trademark’ of much postcolonial and diasporic literature, not only of that which was of Indian origin, or of literature written in English. Postcolonial narratives challenged dominant discourses since although they did have a 16 CU IDOL SELF LEARNING MATERIAL (SLM)

historical depth to their narrative content, it was mostly presented through a subversive dimension. Memory, collective memory, family history and nostalgia were thoroughly explored and used in the reconstruction of the past and homeland. Therefore, these novels shed a new light on institutionalized ideas not only through a representation and re-writing of history through a new form, but also by representing and giving voice to the experience of social and ethnic minorities (both creating and challenging stereotypes). With the rise of movements across borders and the settling of Indian nationals, and of other South East Asian countries, on new territories, these writers also began portraying hybridity, migration and other social realities of the contemporary society at home and in the host land. In sum, these narratives provided many global readers with subject matter they could relate to and so opening the market for “a pocket overview of twentieth-century Indian history” in the words of Kortenaar. (2004) Colonialism awoke in the indigenous subject a collective consciousness of the socio-cultural and political circumstances that defined them but which they were also able to redefine. This socio-political consciousness also arose in the Western subject, however, in this case it was manifested through the idea that ethnic difference was not necessarily a phenomenon of civilization but rather that it had a cultural dimension which should be understood locally first, rather than through the imposition of a universal formula, and then acknowledged as one system among many others pertaining to the idea of a multicultural interconnected world. Consequently, through the postcolonial this process of shifting perspectives and transformations began to take shape as a cultural form. Because history is largely based on interpretation it involves perspective, and an ongoing dialogue between present and past, historian (analyst) object of study and audience. The historian, therefore, is not only a medium through which historical facts are gathered and exposed, but also a creative interpreter of the past who has access to and is capable of gathering information and rearranging it so as to gain meaning within a cultural logic. The narrative gives meaning to the culture in question, but it is also a product of the dominant forces that give it life. This was as true in imperial ideology as it is true today. The postcolonial narrative emerges as a discourse for a national identity where the construction of a new society must go hand in hand with the reconstruction of a new ideal of society, whereby the past is not lost, and difference is not marginalized but both are reworked and adapted to present circumstances. Through postcolonialism, the national subject – individual or collective has become historical, and power has been re-asserted within those speaking out. Therefore, new subjective forms and interpretations of historical processes and culture keep emerging in order to provide coherence to the postcolonial nation and its people. Because of the changes in the physical and symbolic geographies of nation, borders have opened to welcome and incorporate new realities. The core has expanded, just as what may have once been considered periphery has migrated inwards, redefining boundaries. And not only has the centre expanded to accommodate new realities but new spheres of action keep 17 CU IDOL SELF LEARNING MATERIAL (SLM)

emerging. The focus is on present day society as the site where new cultural processes and transformations are occurring. An important branch of postcolonial literature focuses on the diasporic subject. Diaspora is that space where hybrid identities and cultural practices gain shape. The fluid nature of societies results in the complexity of the diasporic subject with a fragmented sense of the self, caught between cultural roots, capitalist structures, tradition and progress, a nostalgia for the homeland, and the search for identity. Since a return to the homeland most of the times never happens, diasporic subjects create what Rushdie has timelessly termed ‘imaginary homelands’ where an ideal of the lost ‘home’, ‘nation’, ‘culture’ is recreated in the host land or in the imaginary and this aspect becomes an important and nurturing factor of identity worked through the poetics of belonging. The text, along with other forms of diasporic creativity allows writers and readers to explore these feelings. Diaspora also raises questions on the coherence of the modern nation due to the scattering of people, the fusion of languages and cultures, the blurring of borders and the unstable nature of contemporary society. It is in the nation as space that the negotiation of these meanings takes place. And it is through this process that cultural metaphors emerge. While dwelling in a sense of detachment, displacement and isolation, caught between the desire to move on and the need to hold on, the diasporic subject resides in that space between longing and loss in the attempt to fill the emptiness caused by separation from the homeland or loved ones. Desai sums this beautifully in the following quote: “Could fulfilment ever be felt as deeply as loss? Romantically she decided that love must surely reside in the gap between desire and fulfilment, in the lack, not the contentment. Love was the ache, the anticipation, the retreat, everything around it but the feeling itself.” (Desai 2006:2) I understand the postcolonial novel as a metaphor, an evocation, an idea of the nation, and as such a text open to endless interpretation, reflecting the inconsistencies of history and modernity. Because culture itself is a process of ongoing transformations where neither the past, present nor future should be disregarded but rather engage in a constant negotiation of meaning in a rapidly moving world. And I end with a quote from Clifford when he states that “Cultures do not hold still for their portraits” (Clifford 1986:10). 1.5 INTRODUCTION TO POSTCOLONIAL WRITERS Postcolonial fiction writers handle the discussion on colonialism di by subverting and modifying it. The Literary theory on Postcolonialism re-analyses colonial and postcolonial literature. Specifically, the discourse between the colonizer and the colonized In Edward Said's Orientalism (1978), he examined the fiction of Honoré de Balzac, Charles Baudelaire, and Lautréamont (Isidore-Lucien Ducasse), and learnt how they affected by European racial 18 CU IDOL SELF LEARNING MATERIAL (SLM)

superiority. He pioneered the branch of postcolonial criticism called colonial discourse analysis. Homi K. Bhabha (born 1949) is a Harvard University professor and one of the eminent theorists of colonial discourse. He created many field neologisms and concepts (hybridity, third-space, ambivalence, mimicry, difference). The postcolonial critics' generation concentrates on texts that \"write back\" to the colonial centre. Eminent theorists include:  Gayatri Chakravorty Spivak  Frantz Fanon  Bill Ashcroft  Ngũgĩ wa Thiong'o  Chinua Achebe  Leela Gandhi  Gareth Griffiths  Abiola Irele  John McLeod  Hamid Dabashi  Helen Tiffin  Khal Torabully Robert J. C. Young In the 1930s, francophone African scholars, writers, and politicians in France created a literary and ideological philosophy called Négritude. Martinican poet Aimé Césaire, Léopold Sédar Senghor (a future President of Senegal), and Léon Damas of French Guiana were its establisher. French colonialism is not accepted by the Négritude scholars and encouraged to have a common racial identity for African natives across the world. Black intellectuals (English-speaking ) who reflected the ideologies of négritude are associated with a movement Pan-Africanism. Frantz Fanon (1925–1961), the Afro-Caribbean psychiatrist was supporter of the movement and worked remarkably in postcolonial studies, critical theory, and Marxism. He was concerned about the colonization psychopathology and decolonization effects. Postcolonial Feminism Postcolonial feminism is the best response for the Eurocentric focus of feminism. It states that non-white, non-Western women in the postcolonial world are influenced by racism and 19 CU IDOL SELF LEARNING MATERIAL (SLM)

the deep-rooted political, economic, and cultural effects of colonialism. Essential texts include:  The Fall of the Iman by Nawal El Saadawi's is the story on women lynching.  Half of a Yellow Sun by Chimamanda Adichie is story about two sisters in pre- and post-war Nigeria  The United States of Banana by Giannina Braschi is anecdote about the freedom of Puerto Rico Different voices are Maryse Condé, Fatou Diome, and Marie Ndiaye. Some popular postcolonial women's activist social scholars incorporate Rey Chow, Maria Lugones, Gayatri Chakravorty Spivak, and Trinh T. Minh-ha. Australian Postcolonial Writers During the colonization of Australia, Indigenous Australians (Torres Strait Islander and Aboriginal) don't have a composing framework. Early European wayfarers diaries referenced their undesirable and cordial experiences with Aboriginals. Native creators who have won Australia's high eminence Miles Franklin Award include:  Kim Scott with Thea Astley for Benang (2000) and for That Deadman Dance (2011).  Alexis Wright stowed the honour for her novel Carpentaria (2007)  Different Works by non-Indigenous Australians on Aboriginal topics are:  The Timeless Land (1941) by Eleanor Dark. (First of set of three about European settlement and investigation of Australia.  Judith Wright sonnets  The Chant of Jimmie Blacksmith by Thomas Keneally  Ilbarana by Donald Stuart  The Only Speaker of His Tongue (short story) by David Malouf. African Postcolonial Writers 2,000 Seasons is writing by Amadou Hampâté Bâ (1901–1991), a Malian author and an ethnologist, Ayi Kwei Armah (conceived 1939) from Ghana, have attempted to set up an African perspective to their own. Period of Migration by Tayib Salih (from the Sudan) toward the North is another astounding novel . Doris Lessing (1919–2013) from Zimbabwe distributed her first novel The Grass is Singing (1950) in the wake of moving to England. From the start she wrote about her African experiences. Before long she can acquire a spot in English scholarly scene, and in 2007 she sacked the Nobel Prize in Literature. 20 CU IDOL SELF LEARNING MATERIAL (SLM)

Kenyan author Ngũgĩ wa Thiong'o who brought into the world in 1938 at first uses English however now utilizes Gikuyu. In view of artistic and social analysis in youngsters' writing, he made books, plays, short stories, and papers Chinua Achebe (1930–2013) is a Nigerian creator who is popular for his work Things Fall Apart distributed in late 1950s. Achebe writes in English and African writing protected the language of colonizers . A dramatist and writer Wole Soyinka (conceived 1934) agreed with the Nobel Prize in Literature in 1986. He was the main African to be congratulated in that classification and effectively took part in Nigerian legislative issues and its battle for autonomy from Britain. In 1967 during the Nigerian Civil War, General Yakubu Gowon of national government was placed in isolation for a very long time. An author, verifiable essayist and short story author Chimamanda Ngozi Adichie was brought into the world in 1977. Adichie a MacArthur Genius Grant beneficiary has been called as \"the most unmistakable\" of a \"parade of widely praised youthful anglophone writers [that] is prevailing with regards to pulling in another age of perusers to African writing\". Postcolonial Writers from the Americas During the 1950s, the expression \"West Indies\" started to get wide cash. Edgar Mittelholzer, Samuel Selvon, John Edgar Colwell Hearne, V.S. Naipaul, and George Lamming began distributing in the United Kingdom. Later two West Indian essayists packed away the Nobel Prize in Literature:  Derek Walcott who was brought into the world in St. Lucia. During the 1960s and '70s he lived in Trinidad and in the United States in parts.  V. S. Naipaul who was brought into the world in Trinidad and since the 1950 he lives in the United Kingdom. The play M. Butterfly by David Henry Hwang's shows: i. Western perspective on China and the French ii. American perspective on Vietnam during the Vietnam War The play was enlivened by Giacomo Puccini's show Madama Butterfly. Chinese American creator, Maxine Hong Kingston (brought into the world in 1940) has written three books and a few non-anecdotal works. All locations about Chinese foreigners living encounters in the United States. Bharati Mukherjee pronounces herself as an American essayist, and not a non-local author. She is having East Indian family line. 21 CU IDOL SELF LEARNING MATERIAL (SLM)

Indian American creator Jhumpa Lahiri (conceived 1967) began her profession as short story Interpreter of Maladies (1999) and later granted with the Pulitzer Prize for Fiction in 2000. Lahiri's first novel, The Namesake (2003) was adjusted into the mainstream film later. Margaret Atwood is the Canada based, post-pilgrim essayist. She manages the subjects of character looking for with the assistance of Southern Ontario Gothic way of composing. Indian Postcolonial Writers The challenge faced by the Indian literary production is the superiority and inferiority of Indian Writing in English (IWE). Key concepts discussed in this context are:  superficial/authentic  imitative/creative  shallow/deep  critical/uncritical  elitist/parochial Out of these, a few contentions structure a fundamental piece of post-frontier hypothesis. Some thought about impediment in the arrangement of IWE. Amitav Ghosh in 2001 wouldn't acknowledge the Eurasian Commonwealth Writers Prize for his book The Glass Palace and later pulled out it. A prestigious essayist V. S. Naipaul from Trinidad and Tobago.One of the Nobel Prize laureates who are not sorted under IWE. Naipaul depicted sentiments, for example, thoughts of country, rootlessness towards India in numerous books. Indian creators like Amitav Ghosh, Anita Desai, Arundhati Roy, Meena Alexander Kiran Desai, Hanif Kureishi, and Rohinton Mistry have additionally written their postcolonial encounters. In postcolonial time Nissim Ezekiel (1924–2004) was a solid mainstay of Indian abstract history in English. Mahashweta Devi (1926–2016) is an Indian social lobbyist and author. British Postcolonial Writers The books from J. G. Farrell portray the ruin of British standard. Discussing Farrel's Empire Trilogy Troubles is the first in the number which depicts the Irish War of Independence (1919–1921), went before by The Siege of Krishnapur and The Singapore Grip. All made during the 1970s. A Passage to India (1924) by E. M. Forster shows India in the closing long stretches of British standard and shows a relationship among East and West. The writer of the book, 22 CU IDOL SELF LEARNING MATERIAL (SLM)

through the narrative of Adela Quested ( an Englishwoman) and Dr. Aziz (Indian) had sewn individual associations with pilgrim legislative issues and cross examined what occurred at the Marabar caverns. The Raj Quartet by Paul Scott shows India in the last days of the British guideline in India. This is a four-volume novel arrangement composed during the time frame 1965–1975. 1.6 SUMMARY  A long narrative fictional work in prose is called a novel. It is generally published as a fictional book.  Fictional works such as The Lord of The Rings, To Kill a Mockingbird, and Frankenstein that includes astonishing or peculiar accounts or events are novels.  The term novel derived from the Italian word 'novella’ but was not in use till the 18th- century end.  During the Medieval Period, the term was used as a classification to describe a short tale that imparts a sentiment reflective of the society-at-large.  The purpose of the book is to present the readers a graceful, elegant, and close-knitted story where all components are stringed perfectly to depict the human condition.  Postcolonialism requires: i. Studied involvement along with the colonial experience ii. Past and present effects at a local and general level  Discussion on various experiences such as enslavement and migration, race and gender difference, subduing and resistance; also, responses on discussions of imperial Europe such as discussion on history, philosophy, anthropology, and linguistics.  For postcolonial writers, the Novel's representational power, and its capability to provide a voice to a people based on their identity and history are of prime importance.  The major postcolonial fiction themes which are free from imperial forces are: i. Exile and alienation ii. Struggle, Rebel, and resistance in opposition to colonial powers iii. Mix identities, multiculturalism, and the foundation of cultural autonomy  The above-mentioned themes of postcolonial fiction are categorized by issues between: i. Colonizer and colonized ii. Postcolonial and old colonial society emergence  Another significant theme in postcolonial fiction is multiculturism and created in the context of establishing identity.  A significant division of postcolonial literature focuses on the diasporic subject. 23 CU IDOL SELF LEARNING MATERIAL (SLM)

 Postcolonial fictional writers deal with historical colonialism by modifying or by ousting it or could be both.  Eminent theorists include Gayatri Chakravorty Spivak, Frantz Fanon, Bill Ashcroft, Ngũgĩ wa Thiong'o, Chinua Achebe, Leela Gandhi, Gareth Griffiths, Abiola Irele, John McLeod, Hamid Dabashi, Helen Tiffin, Khal Torabully, and Robert J. C. Young.  The Eurocentric feminism focus gives rise to Postcolonial feminism. It describes how non-white, non-Western women are affected by racism and the long-lasting political, economic, and cultural effects of colonialism's influence in the postcolonial world. 1.7 KEYWORDS  Postcolonial: Emerging after the end of colonial rule.  Literature: A written artistic works, especially those with a high and lasting artistic value  Exile: Banned from one's native country due to political or disciplinary reasons.  Diaspora: The dissipation ion or scattering of people from their native land.  Hegemony: Leadership or dominance, especially by one state or social group over others. 1.8 LEARNING ACTIVITY 1. Hold a class discussion on any Indian postcolonial novel. ………………………………………………………………………………………………… ………………………………………………………………………………………………… 2. Discuss on how a postcolonial novel differs from or is similar to any other novel. ………………………………………………………………………………………………… ………………………………………………………………………………………………… 1.9 UNIT END QUESTIONS A. Descriptive Questions Short Questions 1. Define a novel. 2. What did the hyphenated term post-colonialism denote? 3. What are the various experiences that postcolonial literature depicts? 4. Give at least five examples of postcolonial novels. 5. What is postcolonial feminism? Long Questions 24 CU IDOL SELF LEARNING MATERIAL (SLM)

1. What are the major characteristics of a postcolonial novel? Explain with examples. 2. What is the main idea behind the usage of the appropriate language in a postcolonial novel? 3. How is the postcolonial novel different from the others in terms of its aspects and attributes? 4. Why is the identity of someone who is a part of a postcolonial culture said to be unstable? 5. Comment on the aspects of exile and alienation in postcolonial novels. B. Multiple Choice Questions 1. The word ‘novel’ comes from the word a. Novelty b. Novella c. New d. Novelette 2. What is the term to denote a novel’s organization of socially diverse and competing discourses? a. Hegemony b. Chronotope c. Heteroglossia d. None of these 3. Figuratively, the theme of exile is expressed as ______. a. Alienation b. Existential Crisis c. Colonialism d. None of these 4. Which of the following texts does not become a part of postcolonial feminism? a. The Fall of the Imam b. Half of a Yellow Sun c. United States of Banana d. Things Fall Apart 5. Who among the following was a foundational figure in postcolonial India's literary 25 history, specifically for Indian writing in English? a. Rohinton Mistry b. Mahasweta Devi c. Nissim Ezekiel CU IDOL SELF LEARNING MATERIAL (SLM)

d. Anita Desai Answers 1-(a), 2-(c), 3-(a), 4-(d), 5-(c) 1.10 REFERENCES Textbooks  Bruning, Angela,( 2006). \"Caribbean Connections: Comparing Modern Anglophone and Francophone Caribbean Literature, 1950- present\", PhD Dissertation, University of Stirling.  Burns, Lorna (2009). 'Becoming-postcolonial, becoming-Caribbean: Édouard Glissant and the poetics of creolization',Textual Practice.  Foco, E. M. (2017). Post-Colonialism and Performance : Political , Cultural and Pedagogic Legacies and Constraints.  Gholipour, M., & Sanahmadi, M. (2013).A Postcolonial Perspective on the Short Stories of Jhumpa Lahiri. International Journal of Humanities and Management Sciences. References  Groos, O. L. E. V, & Pritchard, A. (1966). Journal of Documentation. Journal of Documentation.  Gyssels, Kathleen. (August 2001). The world wide web and rhizomatic identity: Traité du tout-monde by Édouard Glissant‖ Mots Pluries.  Makdisi, Saree S. (1994).The Empire Renarrated: Season of Migration to the North and the Reinvention of the Present‘ Colonial Discourse and Post-Colonial Theory: A Reader ed. Patrick Williams and Laura Chrisman. New York: Colombia UP.  Patricia Greesey, (1997). Cultural Hybridity and Contamination in TayebSalih‘sMawsim al- hijraela alshamal (Season of Migration to the North),‘ Research in African Literatures. Websites  https://www.researchgate.net/  http://www.limag.com/  https://ecumenico.org/ 26 CU IDOL SELF LEARNING MATERIAL (SLM)

UNIT-2 SALMAN RUSHDIE: THE NOVELIST Structure 2.0 Learning Objectives 2.1 Introduction 2.2 Rushdie’s Politics and Ideologies 2.3 Style of Writing 2.4 Summary 2.5 Keywords 2.6 Learning Activity 2.7 Unit End Questions 2.8 References 2.0 LEARNING OBJECTIVES After studying this unit, student will be able to:  Explain and get familiarized with the author and his background.  Describe and get familiarized with the author and his style of writing.  Evaluate the author as a postcolonial writer. 2.1 INTRODUCTION The British Indian writer Sir Ahmed Salman Rushdie FRSL (Fellow of the Royal Society of Literature) was born on 19 June 1947 in Bombay (now Mumbai) into a Kashmiri Muslim family. He wrote in his 2012 memoir that his father adopted the name Rushdie in honour of Averroes (Ibn Rushd). He was educated in India and the UK and has mostly lived in New York City since 2000. He has been married four times and has two sons. Salman Rushdie bagged many accolades for his contributions, which includes the German Writer of the year Award, Aristeion Prize for Literature (European Union), the Premio Grinzane Cavour (Italy), and other honours such as State Prize for Literature (Austria), Hans Christian Andersen Literature Award (2014), Golden PEN Award, PEN Pinter Prize (UK), Swiss Freethinkers Award (2019), Outstanding Lifetime Achievement in Cultural Humanism (Harvard University) and St. Louis Literary Award from the Saint Louis University Library Associates. 27 CU IDOL SELF LEARNING MATERIAL (SLM)

On 16 June 2007, on the occasion of Queen’s Elizabeth Birthday Rushdie was facilitated for his contribution in literature. Nevertheless, it was received with protests by many nations who condemned Rushdie. Rushdie’s works majorly deal with ancient literature with a blend of elements like mystic pragmatism along with the disruptions and insecurities related to migrations between the east and the west. However, most of his narratives are put up on the Indian subcontinent. Grimus (1975) Grimus is first made available in 1975. It is Salman Rushdie’s literary debut on fiction and science. The story is about Waving Eagle, a juvenile person who receives immortality gift after consuming a magical juice. For 777 years 7 months and 7 days, the Waving Eagle roams the earth and explores before falling into hole in the Mediterranean Sea. He reaches the parallel world at the mystical Calf Island where the immortals who unwilling to hand over their immortality live in a stable community. Along pre- and post-modernist literature, Rushdie uses Sufi, Hindu, Christian, and Norse mythologies for his character formation and narrative structure. This work is compared to Voyage to Arcturus by David Lindsay. Inter-dimensional or interstellar traveling gives a narrative framework that agrees with the bildungsroman narrative form and examines multiple social ideologies in search of clear identity. Expanding and widening the techniques and the cultures identified with Jonathan Swift's Gulliver's Travels, or in Utopia by Sir Thomas More, its journey pass over both inner and outer dimensions, exploring cultural ideologies and their uncertain effects on one's psychological being. Similarly, to his next work Midnight's Children, here Rushdie emphasises to the temporary status of his text’s ‘truth’ and the temporary status received, by using meta-text. The epilogue consists an excerpt from one of its own characters. Thus, the text go around the ‘symptoms of blindness instead of direct expression’. Rushdie asserted that \" something that have occurred in the twentieth century is a goliath fracture reality\". Subsequently Grimus permits Magic Realism to mock classifications like Gabriel García Márquez, , which reflects \"the mess and estrangement that characterizes postcolonial social orders along with people\". Farid Ud 'Commotion Attar's \"The Conference of the Birds\"draws one of underlying gadgets of Grimus . The Conference of the Birds is a symbolic sonnet that contends \"God\" is otherworldly as opposed to a reality. This is a fundamental part of Sufism Rushdie used to demonstrate his investigation of religion to reality in The Satanic Verses, Shame, East West and a portion of his genuine works. These accounts includes \"reality\" disclosure holding up 28 CU IDOL SELF LEARNING MATERIAL (SLM)

on of the Mountain Qâf. In Virgil's journals \"clarifies\" the commentary use \"K\" instead of \"Q\", which hauls the consideration regarding the story as a development and shows the \"Rushdie Affair\" when it says that \"A perfectionist would not pardon me, however there it is.\" [Grimus reference p. 209] Grimus' investigation of inward measurements (venture through concentric circles and a passing a waterway to arrive at frightening, focal area) got its construction from The Dante Comedia . Henceforth, acknowledgment of Flapping Eagle that \"[He] was ascending a mountain into the profundities of a hellfire diving profound into myself\" and his misconception of Virgil Jones for \"a devil\" clear as a feature of \"some fiendish torment\". [Grimus p. 69] The Inferno saying this control goes about as mental instead of experimental reality, it blurs the limits by isolating inside as well as outside real factors, which is an esteem to the novel and Rushdie's works . Even though Calf Island's basing on a consolidation of Eastern and Western references (i.e., Dante's Mount Purgatory and Attar's Qâf Mountain) emblematic of Rushdie's situating of post-pioneer character in a blend of societies. Midnight’s Children (1981) The low visibility of Grimus was repay by his second novel, Midnight’s Children depicts India's transformation from British colonial rule to independence and to its partition. It is an ideal illustration of postcolonial, postmodern, and mysterious pragmatist writing. The story is described by Saleem Sinai (boss hero), and dependent on genuine recorded occasions. This way of saving history with anecdotal records is self-reflexive. Midnight's Children bagged:  The Booker Prize  The James Tait Black Memorial Prize (1981).  The \"Booker of Bookers\" Prize  The best all-time prize winners in 1993 and 2008 to celebrate the Booker Prize 25th and 40th anniversary.  Listed on the BBC's The Big Read poll of the UK's \"best-loved novels\" in 2003.  Scored a place in the list of Great Books of the, published by Penguin Books. Midnight's Children shows major events both after and before the Indian independence and partition .The protagonist, Saleem Sinai, born in independent India with telepathic powers. The novel is split into three books. The magical realism technique is expressed beautifully all over the novel and is difficult to build-upside by side to the country's history. The story takes place in different parts of Indian subcontinent – from Kashmir to Agra and then to Mumbai, Lahore and Dhaka. 29 CU IDOL SELF LEARNING MATERIAL (SLM)

It tells story of Saleem Sinai who was born on the midnight when India got its independence. He was blessed with magical powers and has the power to associate with other children born at the time of Independence. The events in the book are similar to the magical Arabian Nights narratives. Shame (1983) Shame is the third novel by Salman Rushdie's and published in 1983. This book helps to analyse the problem of \"artificial\" country divisions, complicity of their residents, and post- colonial problems such as formation of Pakistan to separate the Muslims from the Hindus. It is written magic realism style. It depicts the lives of Iskander Harappa (assumed to be Zulfikar Ali Bhutto), and General Raza Hyder (assumed to be General Muhammad Zia-ul- Haq), and their connection. Begetting \"shame\" begets violence is the central theme of the book. Through all of the characters the idea of shame and shamelessness is explore, with the prime focus on Sufiya Zinobia and Omar Khayyám. Satanic Verses (1988) Salman Rushdie's fourth novel is The Satanic Verses and first published in 1988. It is inspired by the life of Muhammad. Rushdie in his previous books used magical realism and present-day events and people to develop his characters. The title is inspired from the satanic verses and group of Quranic verses mentioned to Meccan goddesses (Allāt, Uzza, and Manāt).[1] The story part that deals with the \"satanic verses\" are taken from accounts of the historians al-Waqidi and al-Tabari. The Satanic Verses received positive reviews in the United Kingdom. It was a Booker Prize finalist(1988) and won novel of the year -the Whitbread Award in 1988. Later the controversy arises with content in the book as Muslims complained of blasphemy and ridiculing their religion and belief. In consequence of it, on 14 February 1989, a fatwā was released by the Supreme Leader of Iran Ayatollah Ruhollah Khomeini. Rushdie faced several failed assassinations , as a result the government of UK gave him police protection .The book was banned in India as well. The book follows a frame narrative and uses magical realism, well knitted series of sub-plots. The frame narrative require non-native Indian in the present-day England. The story has two protagonists: Gibreel Farishta is a bollywood superstar Indian Muslim background who specializes in playing Hindu deities.  Saladin Chamcha is an emigrant and works as a voiceover artist in England. 30 CU IDOL SELF LEARNING MATERIAL (SLM)

Great criticism is faced by the novel among the Muslim community because some Muslims find some references blasphemous. They accused Rushdie of misapplying his freedom of speech. The Jaguar Smile (1987) The Jaguar Smile was published in 1987. It is first full-length non-fictional book penned by Rushdie it after Nicaragua . The book is subtitled A Nicaraguan Journey and records his travel experiences, recalls the people he met, and mentions his views on the political situation. Dictator Anastasio Somoza Debayle, the leftist Sandinista National Liberation Front (FSLN) gained power after facing period of political-economic turmoil under in Nicaragua in 1979 supported by Catholic church. Initially, the government was supported by President Jimmy Carter, but under the presidency of Ronald Reagan the support taken off because of evidence that FMLN (who are rebels in El Salvador) were supported by the Sandinistas . Later US applied economic sanctions and a trade barrier which caused damage to the Nicaraguan economy in the early to mid-1980s. During this time, the Soviet Union and Cuba financially supported the Nicaraguan army. US funded the contras in neighbouring Honduras desire to form a suitable government in Nicaragua. In 1986 at the International Court of Justice Nicaragua won a case against the U.S. and for undermining the nation's sovereigntythe court ordered U.S. to pay $12 billion in reparations. During this time on the occasion of the seventh anniversary of the Sandinistas rise to power Salman Rushdie visited Nicaragua. Haroun and the Sea of Stories (1990) Haroun and the Sea of Stories was Rushdie's fifth novel . It is a 1990 children's book by Salman Rushdie. The story is phantasmagorical , the story starts in a city so old and devastating that it has forgotten its name. The protagonist Haroun Khalifa lives with his father Rashid (a storyteller and doctor), and his mother Soraya(seduced by her neighbour to leave home). Rashid is hired by local politicians to speak on his behalf, but initially fails his initial assign. The two transferred to the 'Valley of K' to speak for 'Snooty Buttoo'( another politician.) In attempt to sleep aboard Buttoo's yacht, Haroun discovers 'Iff- the Water Genie', assigned to detach Rashid's imagination, and demands conversation against this decision with the Walrus (Iff's supervisor). With the help of an artificial intelligence, they are then taken to the eponymous 'Sea of Stories' in the form of a hoopoe, nicknamed 'Butt' after the courier. Of the Sea of Stories, Haroun discovers it is endangered by antagonist 'Khattam-Shud,' who represents \"the end\". It was made into an audiobook read by Rushdie himself. East West (1994) 31 CU IDOL SELF LEARNING MATERIAL (SLM)

East, West is written in1994 by Salman Rushdie. It is anthology of short stories which is divided into three main sections: \"East\", \"West\", and \"East, West\". Each section consist of stories from their respective geographical areas. Though Rushdie himself never disclosed the exact inspirations for his stories in East, West. It believed that the central themes of each of his stories are from his personal experience . Rushdie knitted in many references from television and Western media into his stories, due to which he become famous across the world and on the Indian subcontinent. The influence and travels of Indians and Indian culture is also shown in the West. The stories are both compelling and thought provoking and represent of Salman Rushdie's important place as a literary fixture between two rich worlds. Like the different cultures, each section seems to have a different feel. East section is set as there will be number of classic tales from our own culture. In fact, Rushdie’s West is as unusual, it is prejudged notions and shattered by the foolishness. In East, West Rushdie prompts us that other cultures may seem foreign or different, but familiarity is the only way that makes human absurdity seem normal. Rushdie writes in the Ruby Slippers’ Auction how the pop culture prominence turned out to be a kind of idolization. In The Prophet’s Hair , he questioned the readers whether our obsession with movie magic differs from the religious devotion seen. The Harmony of the Spheres is clash between the two cultures, and Rushdie left us with impression that we're all mad about our culture no matter what culture we grew up in. The Moor's Last Sigh (1995) The Moor's Last Sigh published in 1995 is a historical fiction novel by Salman Rushdie. The novel sets in India and Spain, where Moraes (Moor) one of the last survivors of his dynasty. He, sets a journey from India to Spain, discover more and more about his ancestors, and how their life affected his. The novel mentions to real historical events like Boabdil's surrender of Granada, the destruction of the Babri Masjid. The story centre around several women he met during his journey, and how his relationship developed and ended with them. Rushdie discussed about Indian history during Moor's time accurately and vividly. The book won the 'Whitbread Prize' for best novel. Rushdie was fascinated by the inspiring life story of Boabdil. He was the last Moorish ruler in Granada. On Goodreadsthe story is rated 4 out of 5. One of the readers on Goodreads praises : \" Rushdie is a smart, ingenious and purposeful writer. Everything is cleverly thought out and his use of language is magical. He bends the words with ease and brings out richer meanings. The plot is an original story that unfolds as a series of riddles to a satirical account of modern India\". New York Times states: “Fierce, phantasmagorical…a huge, sprawling, exuberant novel\". Lastly, Sunday Times reviewed: “Salman Rushdie’s greatest novel… held me is its thrall and provided the richest fictional experience of 1995\". These are just a few praises for The Moor's Last Sigh, 32 CU IDOL SELF LEARNING MATERIAL (SLM)

which is suited to those who like historical fiction and enjoy seeing the history of a country or more in a normal person's perspective, one that is not taught to us in the history books. The novel shows the theme of ancestry and identity in it. Morae informs the reader about his ancestry before revealing about his own life and four generations. Then he chooses to go by the nickname \"Moor,\" and involved story of the fall of the last Moor in Grenada. For Moor, ancestry and identity are closely connected. He imagines his individual life as part of his family's continuous journey through time, through generations, and this awareness shapes his character. Another theme that persists throughout the novel is the theme of maternal love. This novel portrays his relationship with six female characters; out of six, four belongs to his family (his mother and three sisters). Then Moor tells us about his first teacher and narrates how he for the woman who was an artist just like his mother. Through historical context, the novel expresses the theme of historical troubles. This includes the Moors’ fall in Granada at Puerto Del Suspiro del Moro, which is in English namesake of the novel: “The Moor Last Sigh”. This power transformation is enchanting for Moor. Then there is more conflict for the Bombay bombings. The novel describes political figures, terrorists, and important cultural figures. The discussion of politics in the novel provides the backdrop for the personal and emotional journey of Moor. The Ground Beneath Her Feet (1999) The sixth novel of Salman Rushdie is The Ground Beneath Her Feet which was published in 1999. It is a varied form of the Orpheus/Eurydice myth, with Orpheus's lyre substituted by the rock music replacing. This myth functions as a red thread from where the author sometimes lost his way but attaches series of references. This book narrates the love of two men Ormus Cama and Umeed Rai Merchant (the protagonist). They both fell for the same woman named Vina Apsara. The story gives a context and growth history of rock music between the 1950s–1990s period. Toni Morrison defines it as \"a global novel\". The book adjusts itself in Western and post-colonial culture through:  Multilingual characters  Blend East and West  The references from Greek myths, philosophy of Europe and contemporaries (Milan Kundera and the stars of rock ‘n roll) The title is derived from Ormus Cama's song after the death of Vina in the novel. The lyrics of the song were taken and recorded by U2. The same song was filmed in The Million Dollar Hotel in 2000 and featured Rushdie in a cameo for the promotional music video. Fury (2001) 33 CU IDOL SELF LEARNING MATERIAL (SLM)

Fury, published in 2001, is the seventh novel by author Salman Rushdie. In this book Rushdie portrays contemporary New York City as the focal point of globalization and shown all of its tragic flaws. A Cambridge-educated millionaire from Bombay named Malik Solanka is looking for an escape from himself. At first, he runs away from his studies and get lost in the world of miniatures ,after getting infatuated by the miniature houses, he eventually created a puppet called \"Little Brain\" and left the academy for television. However, dissatisfaction with popularity of \"Little Brain\" brings unhappiness within Solanka's life, resulting in the murder of his wife and child. To escape from this, Solanka travels to New York, with hope to lose himself, Step Across this Line (2002) Since September 11th, Salman Rushdie's thoughts on Islam and terrorism were in demand. His columns widely accepted and all of sudden he was being interviewed by journalists and they beg him to give them insight, a reason, anything about his thoughts. Many of his columns were considered as giving voice . When we were all in shock, he put all in words. . Those essays are collected in Step Across This Line:  Collected Non-Fiction from 1992 to 2002  Shared his thoughts on a wide range of topics- from soccer to writers in exile, from U2 to immigration policy The book has “messages from the Plague Years,\" a series written in the fatwa madness. In his interview with January Magazine, Rushdie discloses his feelings about the book. He mentioned that essays like his clever \"In Defence of the Novel, Yet Again\" would of no use if he had placed The Plague Years at the front of the book, The book shows what the narrator likes, thinks, and feels. As the book progresses writing becomes more tense and politics. When the fatwa is addressed in two-third of the book then you understand that Rushdie is not just the author of a book that annoyed some people. You come to know that particular person is behind all the headlines and whatever happened was trivial and shocking. The book’s skilfully planned layout moves along the book effectively. The story begins with \"Out of Kansas,\" about the affect The Wizard of Oz had on his life. It's a good opener because it covers a theme running through his fiction: family, exile, the idea of \"home\", rites of passage, and the tornadoes that come and change everything. The story is affectionate, light-hearted and humorous, and it goes well with \"The Plague Years\" pieces. The Wizard of Oz is a metaphor for the trials that came after the publication of The Satanic Verses. 34 CU IDOL SELF LEARNING MATERIAL (SLM)

His issues with the Islamists seem so very timely now that the world has started paying attention to Islamic terrorism, but it is irritating to read Rushdie jumping up and down, trying to get the press to cover the slaughter of journalists in Turkey, for example. It makes you feel worried while governments try to justify due to trade and economic matters. After many years of visa denial and scorn by the government, Rushdie finally got an opportunity to visit India. A Dream of Glorious Return is his diary from the trip and the most significant part in the book. Rushdie visits with Zafar (his son) never been to India. As a father of teenager, it provides different perspective of Rushdie in the book. \"Zafar has always had a complete set of my books proudly on display in his room, but he reads Alex Garland and Bill Bryson and I pretend not to care.\" The book deals with the frustrations and confusion faced by teenager’s parents, Even discusses the challenges faced by the celebrated authors. The diary narrates \"how to function under heavy security.\" Rushdie loses his cool when his protectors insist that he must wear sunglasses, a hat, and a muffler in the hot Indian weather. Giving autographs to his followers is unsafe and retains him to develop a connection with his readers. Rushdie longs to reconcile with his friends and wants this son to connect with the country. With twenty-four hours of security, it is not possible to do all, and this type of homecoming he has not dreamed. However, he has understood his life cannot be the same as before. Shalimar the Clown (2005) In 2005 came Shalimar the Clown by Salman Rushdie. He took four long years to complete this work and published by Jonathan Cape on 6 September 2005. The book's name is inspired by Srinagar's Shalimar Gardens. Shalimar garden was laid in united India when India is governed by the Mughals. The novel Shalimar the Clown won:  Vodafone Crossword Book Award in 2005  Finalists for the Whitbread Book Awards in 2005 The novel is set in an imaginary town of Kashmir but situated in an accurate location near Srinagar. In the novel, Shalimar is the name of the Kashmiri villager who used to arrange tightrope act to amuse his villagers. The Enchantress of Florence (2008) The Enchantress of Florence resembles medieval romance. It is an ambitious work and presented as a novel. It is related to the process of storytelling process more than with telling a comfortable story. When Frame tales appear within frame tales, then the outcome would resemble the fifteenth century collection of stories The Arabian Nights’ Entertainments also known as The Thousand and One Nights or perhaps John Barth’s Chimera (1972), his own resetting of the Scheherazade tales. 35 CU IDOL SELF LEARNING MATERIAL (SLM)

Akbar the Greatis the central figure of The Enchantress of Florence who was the liberal Mughal emperor of the sixteenth century. Akbar shows tolerance in religion, and for Rushdie he is an attractive symbol due to circumstances which he has gone through since publication of The Satanic Verses. Akbar looks the world in which he lives dissolving into hatred and violence. Akbar, a philosopher king, he doesn’t trust anyone near him, not even his closest peoples. Once unknown traveller comes at Akbar’s court from the West. He has a basis in history, with several identifications. His name is Agostino Vespucci, and he also calls himself “Uccello.” He was the cousin of the explorer Amerigo Vespucci. The immediate reference appears to be to Paolo Uccello who is born as Paolo di Dono (1397-1475). As a Renaissance painter he is known for conveying mathematical principles’ applications to his art in conveying significant viewpoint. It is true that Italian surname, meaning “bird,” implies someone wise, crafty and untrustworthy. The third and the most significant identity of Vespucci-Uccello is that of Mogor dell’Amore, the “Mughal of Love.” Vespucci-Uccello proves his kinship with Akbar and eventually becomes his closest adviser, Akbar was aware of the seductive quality of his new adviser’s tale telling. The story has many characters and is a verbal arabesque . Many of these are historical figures such as the Medici’s and Niccolò Machiavelli. There is a variation on the Pygmalion myth. Though Akbar has harem, but he can entreat only one, Jodha who is perfect. Qara Köz is opposite of Jhodha and Rushdie’s romance is filled up with the passion for her. Rushdie channels this passion into aesthetics, Luca and the Fire of Life (2010) Luka and the Fire of Life was published by Jonathan Cape, Random House in 2010. It is a novel by Salman Rushdie. It is the sequel to Haroun and the Sea of Stories. Rushdie has said \"he turned to the world of video games for inspiration\" and that \"he wrote the book for his 13-year-old son\". This novel inspired a university animation competition in 2010. Design Week explained: \"Sir Salman Rushdie’s new children’s novel, Luka and the Fire of Life, will be brought to life through the animations of four Kingston University students. Rushdie was part of a judging panel which invited ten students from the faculty of art, design and architecture to present ideas for the book.\" Joseph Anton: A Memoir (2012) Joseph Anton: After authorship of The Satanic Verses a fatwa is issued against Rushdie .A Memoir is the autobiographical piece of Salman Rushdie . 36 CU IDOL SELF LEARNING MATERIAL (SLM)

Salman Rushdie, a native of British Indian, a writer , and is educated in England at Exeter University, and. Midnight's Children is his first hit is , which brings him success and fame. The Satanic Verses is his next book, , which is criticized by many Muslims around the world. The book is condemned, and as a result a fatwa is issued against him. The book is burned, and people connected with publication are threatened, and few killed. Protection is given to Rushdie and his second wife, Marianne, and they spend the next year moving around from one safe house to another. The fatwa against him is renewed and Rushdie's life is threatened again and again, and each yea. After all this Rushdie continues writing, and his friends rally around him. Many in the literary world are fearless, but many others, under fear, abandon and condemn Rushdie. Rushdie lives under protection for the next decade. Rushdie also manages to raise his son, Zafar, and begins raising his new baby, Milan. The autobiography comes an end with the threat against Rushdie minimized, and Rushdie ends his protection. At the end he then goes to get a cab to visit an apartment. In Western cultural tradition:  Freedom is a major component , especially in the United States and the United Kingdom.  Freedom occupies a significant place in Salman Rushdie's memoir, Joseph Anton.  Freedom involves ability to write, speak, and present one's beliefs and thoughts clearly. Rushdie exercises the same when he structured The Satanic Verses. These freedoms come under radar of the Muslim community, who criticises the book and vilify Rushdie. Unfortunately, hatred of Rushdie and his book go so far, and Iran issue a fatwa against Rushdie. The only fault of Rushdie is that he has written something with which Islamists disagree. Salman Rushdie tells in his autobiography, Joseph Anton: A Memoir in the third-person omniscient perspective, replacing \"I\" with \"He.\" Rushdie tells the book in this fashion because he, as the narrator, is recounting his own life story, tracing the events of this period of his life years after they have happened, thereby adopting an omniscient position on those events. Referring to himself as \"he,\" Rushdie takes on an elegant form of politeness by refusing the word \"I.\" This is also done because, for most of the novel, Rushdie is writing about his alias, Joseph Anton, rather than himself, Salman Rushdie. It is at once an autobiography, and a biography of someone else. Two Years Eight Months and Twenty-Eight Nights (2015) Two Years Eight Months and Twenty-Eight Nights is the tale of jinn who came to the human world after years of dissociation. The jinn moves around the Lightning Princess (a special 37 CU IDOL SELF LEARNING MATERIAL (SLM)

jinnia) who was fascinated with thinking men. The lightning princess opened door between the two worlds after which the dark jinn put their boredom and malice on humans. This time is called as the strangeness’s, lasting 1001 days or two years, eight months, and 28 nights. After few hundred days into the strangeness’s the War of the Worlds began. The Lightning Princess defeated the dark jinn, but humans and the human world finished up being the weapons and the setting of that dispute. The Golden House (2017) The Golden House is told in first-person narrator, René. Throughout the novel, René uses the literary technique called \"prolepsis,\" means disclosing things which will occur in the novel before they actually occur. It is the story of Nero Golden and his three sons: Petya, Apu and D, and their time in America. The novel also narrates the story of René's life and his film creation about the Golden family. This story is told in first-person retrospective narrator named René. René recalls about the Goldens, sympathising their past and revealing parts of his own life as well. The character of René is involved within the Goldens’ story, so there are two different “Renés” in the novel: First, René the narrator, who knows the end of the novel because he is the one who is telling the story; and Second, René the character, who does not know anything about the end because he part of the action in the drama. René the narrator will employ the literary technique known as “prolepsis,” in which he will alert the readers of what will happen in the novel before the event occurs. Quichotte (2019) Quichotte is the fourteenth novel by Salman Rushdie. It the book was published:  In August 2019 in the United Kingdom by Jonathan Cape and in India by Penguin Books India .  On 3 September 2019 in the United States by Random House. This novel is inspired by a classical novel Don Quixote by Miguel de Cervantes' . Quichotte is a metafiction that narrates the story of an Indian American man who struggled to travel across America. He wants to be television celebrity host and later he become obsessed. The positive reviews are received by the novel and later nominated for the Booker Prize (2019). Salman Rushdie in 2015 was going through Don Quixote to write an introduction for collection of stories inspired by Cervantes and William Shakespeare. In an interview with Mint (an Indian newspaper), Rushdie explained his inspiration: \"Don Quixote is astonishingly modern, even postmodern—a novel whose characters know they are being written about and have opinions on the writing. I wanted my book to have a parallel storyline 38 CU IDOL SELF LEARNING MATERIAL (SLM)

about my characters' creator and his life, and then slowly to show how the two stories, the two narrative lines, become one.\" Quichotte frames a story within a story and make it a metafiction similar to Cervantes' novel. Sam Du Champ the protagonist has been juxtapose to a fictional Arab writer Cide Hamete Benengeli whose manuscripts (Cervantes) helps to translate Don Quixote from as a metafictional trick to provide better clarity to the text. In Quichotte, obsession of Ismail Smile with Salma R and his assumption of the pseudonym \"Quichotte\" parallel that of Alonso Quijano who calls himself \"Don Quixote\" after falling into madness. \"Quichotte\" is the French version of \"Quixote\" and referenced to French composer Jules Massenet's 1910 opera Don Quichotte. Further, it is referenced within the novel that the word sounds like \"key shot,\" which is a way to consume drugs . Sancho, an imaginary son of Quichotte was named after Sancho Panza, who is squire to Don Quixote. Salma R is similar to Don Quixote's Dulcinea del Toboso. 2.2 RUSHDIE’S POLITICS AND IDEOLOGIES In United Kingdom (1980s) ,Rushdie’s was Labour’s Party supporter and taken necessary steps to end racial discrimination and alienation of immigrant youth and racial minorities. In 2006 Rushdie stated that he completely followed Jack Straw (then-Leader of the House of Commons). Jack Straw opposed the wearing of niqab . In addition, Rushdie declared that his three sisters would never wear the niqab. He stated, \"I think the battle against the veil has been a long and continuing battle against the limitation of women, so in that sense I'm completely on Straw's side.” In one of his interviews about his book Shalimar the Clown, Rushdie grieved that Kashmir’s division into zones of Pakistani and Indian administration is like \"cutting his family down the middle\". He criticized the communications-blackout and lockdown in Indian-administered Kashmir in August 2019. He tweeted \"Even from seven thousand miles away it’s clear that what’s happening in Kashmir is an atrocity. Not much to celebrate this August 15th.” 2.3 STYLE OF WRTING Salman Rushdie is a 21st centurygenius of prose writing . He is a postcolonial writer with Indian origin. His prose works have brought a remarkable changes in postcolonial writings. He applies the postmodernist prose style of mixing facts with fiction. This is clearly visible in most of his prose works: “Midnight’s Children”, “Shame”, “Imaginary Homelands”. “His texts are rich with ambivalences, contradictions, and sometimes bizarre juxtapositions of present-day life”, writes Joanne P. Sharp in “Locating Imaginary Homelands: Literature, Geography, and Salman Rushdie.” His genre is combination of prose with a unique Indian perspective on the English language, 39 CU IDOL SELF LEARNING MATERIAL (SLM)

Midnight’s Children is:  An eclectic mix of styles  Ehoing the rhythm  Slang of colloquial spoken English in India Rushdie combine familiar English words in new and unusual ways, and use long, unbroken sentences. is This being the strength of Rushdie. He Indianizes the English words. His non-fictional works are based on his real-life experiences. He writes in them how struggles for his identity. Controversies Centring Him The Satanic Verses (1988) is the fourth novel by Salman Rushdie but his controversial work. After facing life and death threats from Muslims in Muslim majority countries, the Supreme Leader of Iran, Ayatollah Ruhollah Khomein released a call for his assassination (fatwā) on 14 February 1989 . Eventually, the British government put Rushdie under police surveillance. In September 1988, The Satanic Verses publication caused controversy in the Islamic world because some Muslims think that Muhammad was improperly depicted in the novel. The title of the novel associated with disputed Muslim tradition. According to this tradition, Muhammad included verses (Ayah) to the Qur'an and accepted three goddesses (worshipped in Mecca) as divine power. It is believed that Muhammad cancelled the verses afterwards, stating the devil persuaded him to say these verses to pacify the Meccans. The narrator of the book discloses to that these verses were said by Archangel Gabriel. Accordingly, the book was forbidden in numerous nations like Indonesia , Iran, Venezuela, Thailand, India, Bangladesh, Sri Lanka, Kenya, Pakistan, Tanzania, , South Africa , Singapore, and Sudan. On 22 January 1989, in The Observer Rushdie distributed that Muhammad \"one of the incredible virtuosos of world history,\" however noticed that Islamic principle holds Muhammad to be human, and not the slightest bit great. He held that the novel isn't \"an enemy of strict novel. It is, notwithstanding, an endeavour to expound on relocation, its anxieties and changes.\" On 14 February 1989, a fatwā was delivered on Radio Tehran by the Supreme head of Iran Ayatollah Khomeini . When on BBC Radio 4, Rushdie was requested a reaction to the danger, he said, \"Honestly, I wish I had composed a more basic book,\" and \"I'm dismal that it ought to have occurred. It's false that this book is an irreverence against Islam. I question a lot of that Khomeini or any other individual in Iran has perused the book or more than chose removes inappropriately.\" 40 CU IDOL SELF LEARNING MATERIAL (SLM)

Later, he referenced that he was \"glad, at that point and consistently\", of that assertion; while he didn't feel his book was particularly reproachful of Islam, \"a religion whose pioneers carried on in this manner could most likely utilize a little analysis.\" A short time later individuals who were associated with interpreting or distributing the book were assaulted and surprisingly killed. Many lost their lives in riots in certain nations. Rushdie unveiled an appearance on 11 August 1993 at London's Wembley Stadium during a show by U2. In 2010, U2 bassist Adam Clayton related that \"lead entertainer Bono had been considering Salman Rushdie from the stage each night on the Zoo TV visit. At the point when we played Wembley, Salman appeared face to face, and the arena ejected.\" On 24 September 1998, Iranian official a public explanation that it would \"neither help nor upset death procedure on Rushdie\" as a precondition to the rebuilding of strategic relations with the UK. Yet at the same time hardliners in Iran kept on guaranteeing capital punishment. In mid-2005, Khomeini's fatwā was reaffirmed by Ayatollah Ali Khamenei (Iran's present profound pioneer), in a message to Muslim travelers who were making the yearly journey to Mecca. Moreover, capital punishment on Rushdie was announced legitimate by the Revolutionary Guards. Notwithstanding, Rushdie himself has been kept from entering Pakistan. Ron Evans (previous guardian to Rushdie) distributed a book relating the conduct of the Rushdie when he was sequestered from everything. He announced that Rushdie attempted to make profits from the fatwa and was self-destructive as well. Accordingly, Rushdie called it as \"bundle of falsehoods\" and made a legitimate move against Evans, his co-creator and their distributer. On 26 August 2008, every one of the three gatherings apologized Rushdie at London's High Court. On 18 September 2012, a diary of his long periods of stowing away, Joseph Anton (Rushdie's mysterious assumed name), was delivered. On 3 August 1989, a book bomb stacked with RDX hazardous in an inn in Paddington, Central London was set while Mustafa Mahmoud Mazeh was preparing. The bomb detonated early and harmed two of the lodging floors and slaughtered Mazeh. The Organization of the Mujahidin of Islam expressed that he kicked the bucket setting up an assault \"on the renegade Rushdie\". In Tehran's Behesht-e Zahra graveyard there is sanctuary for Mustafa Mahmoud Mazeh that says he was \"Martyred in London, 3 August 1989. The primary saint to kick the bucket set for execute Salman Rushdie.\" In 1990, a Pakistani film International Gorillay (International Guerrillas) denounce Rushdie and announced that Rushdie is plotting the destruction of Pakistan by opening a chain of 41 CU IDOL SELF LEARNING MATERIAL (SLM)

gambling clubs and discos in the country; at last, he is slaughtered toward the finish of the film. The film was hit among the Pakistani crowds, and it \"presents Rushdie as a Rambo-like figure sought after by four Pakistani guerrillas\". The British Board of Film Classification would not permit it a declaration, as \"it was felt that the depiction of Rushdie may qualify as criminal defamation, making a break of the harmony as gone against only discolouring his standing\". Rushdie should show up at the Jaipur Literature Festival in January 2012. However, because of life danger he dropped his visit . A few days after, he uncovered that state police offices had misled get him far from the celebration. Accordingly, state police referenced that they were apprehensive Rushdie may peruse the contested Verses from the prohibited book, and that the danger was genuine, thinking about fast approaching fights by Muslim associations. In the meantime, Indian writers Jeet Thayil, Amitava Kumar , Hari Kunzru and Ruchir Joshi unexpectedly left the celebration, and Jaipur, in the wake of perusing extracts from Rushdie's prohibited novel at the celebration. In India, the import of the book is prohibited. 2.4 SUMMARY  Sir Ahmed Salman Rushdie FRSL (Fellow of the Royal Society of Literature ) was born on 19 June 1947 in Mumbai based Kashmiri Muslim family.  Rushdie's creative pieces are inspired by historical elements with a mixture of magic realism and the disruptions and insecurities between the east and the west related to migrations.  Grimus is the literary debut of Salman Rushdie. It is a science and fantasy fiction novel printed in 1975.  For building character and structuring narrative, Rushdie uses Sufi, Hindu, Christian, Norse mythologies altogether with pre-modernist and post-modernist literature.  Midnight Children depicts India's transformation from British rule to partition of India.  Shame (1983) is the third novel by Salman Rushdie. The book helps to analyse the problems such as: i. Artificial divisions of the country ii. Residents complicity iii. Post-colonialism issues (the formation of Pakistan and separation of Muslims and Hindus)  The Satanic Verses(1988) is the fourth novel by Salman Rushdie and based on 42 Muhammad's life.  The novel outraged the Muslim community, and they believed that blasphemous references are used in the book by Rushdie. Later, a fatwa was released against Rushdie for misusing freedom of speech. CU IDOL SELF LEARNING MATERIAL (SLM)

 The fifth novel by Rushdie was Haroun and the Sea of Stories(1990) which is a book for children. It is a phantasmagorical story that begins in an old city that has forgotten its name.  East, West (1994) is an anthology of short stories by Salman Rushdie.  The Moor's Last Sigh (1995) is a historical fiction novel.  The sixth novel by Salman Rushdie is The Ground Beneath Her Feet (1999). It is a based on the Orpheus and Eurydice myth, with rock music replacing Orpheus's lyre.  The seventh in a row by Salman Rushdie is Fury, published in 2001. Rushdie portrays New York City as the centre of globalization and all of its tragic flaws.  A Memoir is the autobiographical work of Salman Rushdie. For the book, The Satanic Verses a fatwa is issued against Rushdie after it got printed.  Rushdie was a supporter of the Labour Party. During the 1980s he found a way essential ways to end racial separation and disengagement of migrant youth and racial minorities.  Rushdie used the postmodernist prose style of mixing facts with fiction.  His non-fictional works deal with real-life events. He mentions how he had to struggle for his identity. 2.5 KEYWORDS  Salman Rushdie: A British Indian novelist as well as essayist  Author: The creator of any written work such as a book or play  Postcolonial: Occurring or existing after the end of colonial rule.  Novel: A fictitious prose narrative book, generally represent character and action with some degree of realism.  Magic Realism: A literary or artistic genre in which realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy. 2.6 LEARNING ACTIVITY 1. Hold a discussion in class on the topic of banning works of literature. ………………………………………………………………………………………………… ………………………………………………………………………………………………… 2. Divide the class into groups and let each group select a work by Rushdie. Each member from a group should present an issue mentioned the selected work and discuss its relevance in the contemporary times. ………………………………………………………………………………………………… ………………………………………………………………………………………………… 43 CU IDOL SELF LEARNING MATERIAL (SLM)

2.7 UNIT END QUESTIONS A. Descriptive Questions Short Questions 1. Which mythologies does Rushdie draw inspiration from in his works? 2. What does the title of his novel Satanic Verses refer to? 3. What is the plot of “At the Auction of the Ruby Slippers”? 4. Give at least three allusion to other works in Haroun and the Sea of Stories. 5. What does Rushdie’s take on the division of Kashmir into zones of Pakistani and Indian administration? Long Questions 1. Based on his politics and ideologies, what kind of a sketch do you form of Rushdie. 2. What do you think was Rushdie’s agenda behind naming his third novel as ‘Shame’? 3. Give an outline of the major works of Salman Rushdie. 4. Comment on Rushdie’s style of writing. 5. How has Rushdie responded to the controversies and criticism involving him? B. Multiple Choice Questions 1. _______ was Rushdie’s’ debut work. a. Shame b. Midnight’s Children c. Grimus d. Haroun and the Sea of Stories 2. ________ is a work by Rushdie which became very controversial. a. Satanic Verses b. The Moor's Last Sigh c. Shame d. Two Years Eight Months and Twenty-Eight Nights 3. In which fictional city is the story of the novel Luca and the Fire of Life set? a. Malgudi b. Kahani c. Narnia d. Macondo 4. Which of the following are not characters in the novel The Golden House? 44 a. Petya CU IDOL SELF LEARNING MATERIAL (SLM)

b. Apu c. Divya d. Saleem 5. Which novel did Rushdie draw inspiration from for his novel titled Quichotte? a. Jane Eyre b. Don Quixote c. Moby Dick d. Wuthering Heights Answers 1-(c), 2-(a), 3-(b), 4-(d), 5-(b) 2.8 REFERENCES Textbooks  Teverson, Andrew (2010). \"Giants Have Trampled the Earth\": Colonialism and the English Tale in Samuel Selvon's Turn Again Tiger\" Marvels & Tales, Volume 24, Numbe.  Velez , Mike. (Winter 2010) ―On Borderline Between Shores: Space and Place in Season of Migration to the North.‖ College Literature.  Naipaul, V.S. (1967). The Mimic Men. London: Andre Deutsch.  Hughes, Micah A. (2011) . ―Representations of Identity In Three Modern Arabic Novels,‖ Colonial Academic Alliance Undergraduate Research Journal. References  Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. (1989). The Empire Writes Back: Theory and Practice in Postcolonial Literatures. London: Routledge, Print.  Eagleton , Terry. ( 1996). Literary Theory: An Introduction. 2 Nd ed. Oxford: Blackwell.  MacPhee, Graham.( 2011). Postwar British Literature and Postcolonial Studies. Edinburgh: Edinburgh University Press.  Hull, Stuart. (1989). \" Ethnicity: Identity and Difference\". Radical America 23, No,4. Websites  http://postcolonialweb.org/  https://www.salmanrushdie.com/  https://literariness.org/ 45 CU IDOL SELF LEARNING MATERIAL (SLM)

UNIT-3 SALMAN RUSHDIE: MIDNIGHT’S CHILDREN Structure 3.0 Learning Objectives 3.3 Introduction 3.2 Plot Summary 3.3 Major Themes Related To Midnight’s Children 3.4 Character Analysis 3.5 Critical Appreciation Of The Novel 3.6 Summary 3.7 Keywords 3.8 Learning Activity 3.9 Unit End Questions 3.10 References 3.0 LEARNING OBJECTIVES After studying this unit, student will be able to:  Describe the context of the novel.  Explain various literary devices used in the novel.  Critically evaluate the novel. 3.1 INTRODUCTION Salman Rushdie was brought into the world on June 19, 1947, to a prosperous family in Bombay, India. Rushdie's introduction to the world harmonized with an especially significant crossroads in Indian history: after almost 100 years of pioneer rule, the British control of the South Asian subcontinent was reaching a conclusion. Precisely three months after Rushdie's introduction to the world, Pakistan and India accomplished their hotly anticipated freedom when, at the stroke of Midnight on August 14 and 15, separately, power was moved from Great Britain to the sovereign legislatures of every country. The time frame that promptly 46 CU IDOL SELF LEARNING MATERIAL (SLM)

followed freedom demonstrated turbulent. Political and social strains among Hindus and Muslims caused not just the division of India into two separate nations—a disastrous occasion alluded to as Partition—yet additionally wide-scale revolts that guaranteed a huge number of lives. The savagery that went with freedom was an introduction to the various conflicts, upsets, and legislative maltreatments that tormented the region in the years that followed. The political commotion and consistent danger of brutality that denoted the initial thirty years of freedom frames the setting for Midnight's Children, Rushdie's most commended novel. Like Rushdie himself, Saleem, the storyteller of Midnight's Children, is brought into the world just before freedom, and the occasions of his life intently equal occasions in the advancement of the two India and Pakistan. A large portion of Rushdie's books concern themselves, somewhat, with the character and history of these two significant South Asian countries and depict the different, regularly fierce battles between various religions, classes, dialects, and geological areas. In the thirty years following autonomy, India and Pakistan battled three separate conflicts: two over Kashmir, and one over the formation of a free Bangladesh. The conflicts created a huge number of outcasts, guaranteed a great many lives, and prompted an almost lasting condition of pressure between the two nations. Brought up in a wealthy Muslim family, Rushdie was given a superb schooling. Subsequent to moving on from the University of Oxford in 1968, he moved momentarily to Pakistan, where his family had moved after Partition, prior to getting back to England to fill in as an entertainer and marketing specialist. Before long, Rushdie distributed his first novel, Grimus (1975). After six years, Rushdie distributed Midnight's Children, which won the Booker Prize in 1981, and was subsequently considered the best Booker-winning novel from the initial a quarter century of the opposition, acquiring the title \"Booker of Bookers.\" Heralded by pundits as a colossal artistic accomplishment, the novel in a flash procured Rushdie correlation with a portion of the world's most noteworthy contemporary essayists. Rushdie's work, and Midnight's Children specifically, is regularly connected with a few classes of scholarly fiction, including supernatural authenticity, postcolonial fiction, and postmodern writing. His work is frequently contrasted with, and in fact affected by, books like Gunter Grass' Tin Drum and Gabriel García Márquez's One Hundred Years of Solitude. Similarly huge as the consolidation of legendary and fantastical components into his fiction is Rushdie's interestingly Indian point of view on the English language. Rushdie's books murmur with a mixed blend of composition styles, which reverberation the mood and slang of English as it is informally spoken in India. Recognizable English words get joined in new and surprising manners, and long, whole sentences run on uninhibitedly, now and then traversing a page or more. The motivation Rushdie draws from both antiquated and contemporary Indian culture is additionally eminent in his fiction. Components taken from customary Indian folklore and religion string themselves through the novel, as do the creative 47 CU IDOL SELF LEARNING MATERIAL (SLM)

shows of current Bollywood, the vivacious, egalitarian film industry situated in Bombay. In its sheer richness and rambling scope of social sources, just as its endeavour to incorporate however much of India's immense social personality and contemporary history as could reasonably be expected, Midnight's Children is as finished an impression of the life and character of the subcontinent as any single novel might actually give. Midnight's Children is an artificial life account in which individual sham and political authenticity intertwine, just to break down into possibility and ludicrousness. Its storyteller, Saleem Sinai, joins the account of his own youth with that of India itself, having been brought into the world at Midnight upon the arrival of India's freedom from British colonization. Saleem states, 'To see only one life, you need to swallow the world', and this versatile novel twang agreeably every which way to incorporate its storyteller and his family members, just as the country and its occupants. The refracted and contorting way to deal with story is emulated in the actual type of the storyteller himself. There is no grotesquery with which Rushdie doesn't bless Saleem: he has bulbous sanctuaries, an uncovered detect, a huge nose and a touch of his finger is absent. His self-mythologization, as he concedes, can undoubtedly be perused as the vengeance dream of no one worth mentioning, especially when Saleem depicts being at a school dance where every one of the well-known young men, incorporating one with the last name Rushdie, get the best dance accomplices. Fiction, Fantasy and Reinvention The novel makes extraordinary game with the Orientalist origination of India similar to a 'fantasy', a 'legend', a 'mass dream' in which Indians' encounters are simply intriguing redirections like those concocted by Scheherazade. Rushdie alludes to The Arabian Nights all through the novel; notwithstanding its Western social status as a go-to for generalizations about the Middle East, he reminds us while recounting stories is a method of guaranteeing our own endurance. Rushdie's thought of India as an 'aggregate fiction' of 'legends dreams bad dreams' has political just as imaginative significance. In the novel, Independence and Partition push a tremendous and shifted human and geological domain into new characters and self- definitions. 'Past the entryway, history calls,' Saleem reminds himself, in spite of the fact that his (and everyone's) adaptation of history is slanted by feeling and subjectivity. Saleem regularly severs to censure himself for a mistake in his own order, regretting, 'despite the fact that I have really focused, my memory declines, determinedly, to modify the succession of occasions'. Along these lines, the direct design of Midnight's Children endures interesting hitches and hiccups as the storyteller experiences the inconceivability of making an authoritative variant of the past. The Aftermath of Colonialism 48 CU IDOL SELF LEARNING MATERIAL (SLM)

At its generally genuine, Midnight's Children is an investigation of the consequence of imperialism, as Saleem's family move from the pre-Partition Kashmiri valley to Amritsar, Agra, Delhi, Bombay, Pakistan and back. The brutality and hardness of pioneer misuse is clarified in a depiction of 1947 just like the year a 'fighter's blade … cut a subcontinent in three'. The enduring which remains is reflected in the rehashed picture of an urgently arriving close by. The hand shows up in the bloodlike betel juice spat out by men in the city, the scorched debris of an incendiarism assault by a mafia-style nearby political gathering and in 'the hand like landmass' of India's pre-pilgrim geology. In the interim, subtler impacts like the disguise of pioneer prejudice are reflected in the Indian characters' abhorrence of more obscure skin, the emblematic expansion in vitiligo (the skin infection which drains colour from the skin and turns it white) after Independence, and the prerequisite that new Indian inhabitants of a previous colonizer's bequest should live encompassed by the intruder's old belongings. English Literary References Simultaneously – and I keep thinking about whether this is a conscious or an oblivious impression of disguised colonization – the unruly tone and picaresque design of Midnight's Children unequivocally review the English accepted writers Sterne and Richardson. There is likewise an exemplary curve in Rushdie's story, pivoting upon the Victorian Gothic figure of speech of the twofold, changeling youngster or even twin. Saleem isn't actually recounting the narrative of his own family. He and another infant, brought into the world simultaneously in a similar clinic, were exchanged upon entering the world. The genuine child of Saleem's folks is sentenced to an existence of dejection and edginess. Named after a ruinous Hindu god, this other child, the genuine one, is a pariah. Saleem's shadow self – conscienceless, urgent and hard – is the unpolished restricting guideline to the storyteller's affectability and circumlocutions and what he fears most. In spite of their Dickensian birth mishap (or birth try), the two young men address valid, normal variants of India. They additionally feature a further nervousness inside the novel: the Freudian male centric dread that a kid introduced to a man as his child isn't actually his own. Narrating: Magic and Realism Midnight's Children mixes its European, Middle Eastern and South Asian roots, its realistic and abstract motivations, into a strong chutney – to utilize one more of the novel's continuous pictures. As in the best of chutneys, you can't determine what precisely you're placing in your mouth. Omitting Eastern conjuring and narrating customs with the Victorian interest for mysterious correspondence with the soul world, Saleem makes an unbelievable idea partially through the novel. He asserts that all the Indian youngsters who were brought into the world at Midnight upon the arrival of Independence were instilled with otherworldly blessings. In a self-evident (and recognized) gesture to the author's own craft, Saleem's blessing is to get into others' brains and see the world through their eyes. The other kids' blessings are recognizable 49 CU IDOL SELF LEARNING MATERIAL (SLM)

to any peruser of cultural stories the world over: youngsters who can enter a mirror and arise through a mirror in whatever other spot; who have the force of recuperating, prediction or time travel; who can change appearance voluntarily, etc. These mysterious qualities have been portrayed generally in fantasies across the globe, yet there is a hard-social authenticity under Saleem's hallucination. The 'offspring of Midnight' come from all sides of India and many are probably going to descend between the breaks in the public arena except if they can, as though mysteriously, utilize their blessings to change their fortunes. The youngsters epitomize both the cutting-edge capability of the country and its ageless inventive prospects. Surely, well away from the plotline of the mystical kids, numerous characters meet their demises in crazy manners that appear to be fantastical. These occurrences are introduced as straight, however shameful, certainty: professional killers are destroyed by homeless canines; murder casualties utilize their whistling abilities to vex their aggressors; men are nibbled in the neck by camels or in the foot by snakes; they gag on the pips of an orange, get run over on their way to a political dissent or fall into the ocean grasping a goliath solid tetrapod. Individual conceit meets hubris while political power is stopped by the absurd. Utilizing the common picture of a round of snakes and stepping stools, individuals rise and fall, frequently arbitrarily. Female Characters In spite of this energetic willingness, splendour and clearing energy, the novel's mentality to its ladies characters is depressingly standard. The ladies are basically all cheats or prigs (or, by one way or another, both), tattles, vixens, pesters, flirts, eccentric, aficionados, obstinate, silly and frivolous. There's moronically snickering, coquettish cousin Zohra; Vanita the conning spouse of a road performer; Mary the caretaker, who is a 'little lady … minuscule … sad … full'. Saleem's female neighbours are 'small flustery hapless', 'a code' or 'unbridled'. A family companion's female family members are 'goliath … outsize … their behinds flooding', while, in passing, the storyteller detects a 'fat Englishwoman' and 'a fisherwoman whose sari was just about as close as her ethics were free'. Ladies' unethical behavior – characterized barely as if they are reliable – is unambiguously rebuffed, with no of the suspicion and understanding which highlight wherever else in the novel. However, the storyteller's dad explicitly bugs his secretaries for quite a long time and still arises, as an anecdotal character, with completion, feeling and mankind. His casualties escape by 'ruffling down our drive' as though they are strange. The one female character who is expounded on with warmth, despite the fact that she is as yet just a generalization, is Padma, the bossy maid whom the storyteller is perusing his pages to as he thinks of them. Padma is the storyteller's given worker and Saleem utilizes her cooking, housekeeping and sexual work: 'I describe, she is related to; she pastors, and I acknowledge her ministrations'. Correspondences 50 CU IDOL SELF LEARNING MATERIAL (SLM)