There is always a problem of historical inaccuracies in fiction. When certain historical events become a part of the narrative (especially when these events are controversial), it is important to understand what they mean in the author’s conception of history and reality in general. Far more important is to understand their place in this conception when we see that the author’s depiction of facts is unusual and what he does seems to be not the reflection of existing reality but the deconstruction of a different one. Terrorism, civil war, separatism – it is hard to remember the themes that would be more complicated and controversial in the modern world, because questions like these never have a certain answer. Michael Ondaatje’s Anil’s Ghost is a good example of a novel that deals with the most important problems of contemporary history.
Anil’s Ghost, first published in 2000, and is dedicated to events of Sri Lankan Civil War. Michael Ondaatje claimed in interviews that his book is not “just about Sri Lanka; it could be Guatemala or Bosnia or Ireland” (Scanlan 302) – so it can be suggested that the author is trying to describe not this particular conflict, but the situation in general. In another interview Ondaatje says: “Anil's Ghost is a more faithful or more nonfictive version. It's a fiction. It is a novel, and it is also a point of view” (Coughlan). Sri Lanka is mentioned as one of the places in which the war “always seems to be there, and nobody goes to it anymore” (Champeon). The conflict that still takes place is set between the government and Liberation Tigers of Tamil Eelam, a separatist group. Different issues state that at the moment the number of victims is about 80.000 people.
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...every country with the similar circumstances and not only in Sri Lanka. The experience of civil war is reconstructed in destinies of main characters – everyone of them has his personal tragedy and deals with it the way he can. And when neither the executioner nor the victim can be identified, it becomes important to give the identity to at least one of the murdered. It has to be named, and the problem has to be named, too. Through the historical situation the author tries to show us the necessity of personal choice in the times when there is no choice for the nation or the whole country. Anil’s ghost is many different ghosts – ghost of innocent people, who disappeared or died, ghost of the past, which has to be dealt with; ghost of Sarath, who finally becomes a martyr. And these ghosts don’t seem to be Anil’s only. In some reasons they belong to each other.
Critics have already begun a heated debate over the success of the book that has addressed both its strengths and weaknesses. The debate may rage for a few years but it will eventually fizzle out as the success of the novel sustains. The characters, plot, emotional appeal, and easily relatable situations are too strong for this book to crumble. The internal characteristics have provided a strong base to withstand the petty attacks on underdeveloped metaphors and transparent descriptions. The novel does not need confrontations with the Middle East to remain a staple in modern reading, it can hold its own based on its life lessons that anyone can use.
In the history of literature, perhaps the most explored genre is the historical novel. From the Epic of Gilgamesh to the present day, authors have taken historical facts and interpreted them novelistically. When no facts are available, the author may extrapolate missing parts of the story from two sources -- either through the interpretation of the existing scholarly data or through the author's imagination. These two approaches to 'filling in the gaps' of a historical novel can either appease the historian and displease the literary critic or please the literary critic and upset the historian. Very few novelists can produce a historically accurate novel that is also pleasing to a literary critic; to do so would be very difficult because the novelistic plot structure hardly ever follows the structure of truthful historic events. A novelistic writing about a battle in World War Two would be bound to either an accurate portrayal of the events around the main character or a convincing depiction of the people involved. If the author chose to write about turrets, casualty statistics, and troop movements, he would surely sacrifice much of the artistic content of the novel. If the author chose to focus on character and plot, then the writer couldn't portray the event with the specificity it requires. However, the exception to these guidelines appears when a novelist chooses to write a historical novel about a time or a person when large portions of the historical picture is still either unknown or up for scholarly debate. This condition presents itself infrequently to the historical novelist, in circumstances where few people witnessed or spoke about the event, or through an event so ancient tha...
As I finished reading the final story in Almanac of The Dead: A Novel by Leslie Marmon Silko I had to reserve a few minutes to dwell in my thoughts, questions, and bittersweet emotions about the overall content of the book. A key concept that I believe is prominent throughout Silko’s book is the main role Colonialism plays in the objectification, degradation, and commoditization of people, epistemologies, and the environment. Reading the different forms of violence performed throughout the world of the text perfectly portrays the disturbing dehumanizing power that arises from colonialistic capitalism. I argue that Silko gives life to Colonialism which is present throughout the various plots in the novel and deconstructs the idea that Colonialism, as a period in time, belongs in the past. She constructs Colonialism
Literature evolved in the early ages and is still evolving today. Writers Joseph Conrad, Fyodor Dostoevsky, and Guillermo Del Toro all display an uncommon style of literature. In Dostoevsky’s Notes from Underground, he writes about the realist fiction that has developed around the nineteenth-century in Russian intelligentsia. Conrad’s novel called The Secret Agent takes place in London in 1886 before the Greenwich bombing. “Pan’s Labyrinth” by Toro takes place after the Spanish Civil War 1944. Each work displays similar qualities across the borders of both time and earth. They each reflect the changing culture of their time period. All three put forth the sentiments of revolution and social change, while tackling the feelings of alienation and navigating the labyrinths of symbolism.
While years pass by and the times change, history, nevertheless unimportant, is continually being made. The more important events are recovered and documented, and artifacts from the time span are conserved. These kinds of incidents, deserving of occupying space in textbooks and in valuable time throughout history courses around the globe, are reviewed time and time again, with the purpose that these kinds of occurrences should never be ignored as well as decades to come, may have a window into the past. However, it appears as though a few incidents are outlined and glorified, forcing some others under the rug, to be long forgotten, while the periods of time change. The Rape of Nanking is certainly one such type of situation. Even though discussed in books and courses, the Rape of Nanking is briefly reviewed as well as ignored, making those curious, with an imperfect understanding on the forgotten Holocaust of World War I. Iris Chang’s raid into China in December of 1937, reveals a ruthless massacre which years afterwards has developed high essential questions not just concerning imperial Japanese militarism but yet the psychology of killers, torturers, and rapists.
In Avery Gordon’s Ghostly Matters, haunting is a method of sociological research. She argues, “To study social life one must confront the ghostly aspects of it” (7). Ghostly Matters is her attempt to understand the puzzling facts of social life through an analysis of the hauntings surrounding Sabina Spielrein, the desaparecido of Argentina and the lingering impact of racial slavery during the Reconstruction period in the United States.
Fiction (from the Latin fictio, “a shaping, a counterfeiting”) is a name for stories not entirely factual, but at least partially shaped, made up, imagined. It is true that in some fiction, such as historical novel, a writer draws upon factual information in presenting scenes, events, and characters. But the factual information in a historical novel, unlike that in a history book, is of secondary importance.
Arjie's innocence and confusion make him such an appealing character. When the oppression he experiences from his family is added to his character, this makes Arjie even more engaging. The social contrasts between the ethnic groups in Sri Lanka and the difficulties experienced by Arjie are what truly make the overall presentation of the novel so enticing and powerful.
Zlata Filipovic wrote in her novel, “The people must be the ones to win, not the war, because war has nothing to do with humanity. War is something inhuman.” Conflicts of all manner can be found in all corners of the globe. Ultimately, the brutality of those perpetrating inhumane ideals against those who are different and pose an imagined threat to one’s quality of life is not only a reality found in the past, where it is censured, or locales where war is blatant and explicit, but, also in the communities where such interactions and ideals may be more concealed or masked as average. Injustice and being caught up in futile disputes leaves marks on those who experience such issues in any form. In The Freedom Writers Diary by the Freedom Writers with Erin Gruwell, these ideas are brought to the attention of the reader, eliciting the same
Riot (2001), Shashi Tharoor’s third novel is set in the context of a fictitious riot that has resemblance to the riot that rocked Uttar Pradesh in 1989 as an aftermath of the Babri Masjid- Ram Janmabhoomi controversy. Tharoor unravels the history of communal India from the fictional context of the investigation of the death of a twenty-four year old idealistic American girl, Priscilla Hart, who was slain in India in the riot. From its premises, Tharoor also communicates his ideas “about ownership of history, cultural collision, religious fanaticism and the impossibility of knowing the truth” (
... Pakistan to surrender during the Indo-Pakistani War helped the Bengalis establish a sovereign state for themselves. The distribution of the racist pamphlets against the minorities showed Shiv Sena's chauvinistic and fascist regime. Indira Gandhi's corrupt government, socialist regime and her controversial scandals such as giving her son's company government money and the 1971 Nagarwala scandal were also revealed. All of these political events influenced the background of the novel and the characters’ everyday lives. .
Sri Lanka is a island that is made up of many different ethnicities, the Sinhalese who make up 75% population, the Tamils who make up 11% and 14% others. The differences amoung these groups on the basis of religion, language, and ethnicity has resulted in a 26* year long Civil War that began in July 1983 and ended in May 2009. The war was fought between the Sinhalese dominated state and militant Sri Lanka Tamil separatist movements. This paper will demonstrate how The Sri Lankan civlil war was truly a war against terrorism rather than an attempt at ethnic cleansing. It will do so by understand the history of the civil war, what the LTTE has done and the the Sri Lankan government has done.
Growing up during a time of violent political upheaval in Sri Lanka, Arjie travels an especially bittersweet journey into maturation in Shyam Selvadurai’s Funny Boy. The adults in Arjie’s extended family mostly belong to an older, more conservative generation that attempts to fit Arjie into society’s norms. The adults that Arjie meets in the community through his family are individuals who prompt him to see past the confines of his childhood, and it is Arjie’s peers who give him the extra push to understanding himself. With guidance from his extended family, his adult friends, and his peers, Arjie is able to discover his identity through understanding the impact of race and gender on his life.
Clear Light of Day highlights how a war affects a family and a nation. In the novel, parental absence escalates sibling conflict, which leads to the characters escapement, ultimately resulting in Bim’s anger. While some readers may think that Clear Light of Day just represents a single family’s struggle, the novel clearly represents India’s struggle as well. India’s independence from Britain consequently leads to the formation of Pakistan and continual religious and political conflict. This novel is an allegory that explains political combat in an accessible way because everyone is part of a family. This novel not only models the reasons for conflict in India but for other nations and even families as well. Clear Light of Day shows how understanding family dynamics and creating strong familial bonds can help reduce conflict and promote peace throughout the world.
The passage from pages 37-38 effectively demonstrates the concept of history, as it foregrounds elements important to this issue. Rushdie, challenges the conventional modes of history through his self reflective narrative structure. The passage is a good demonstration of its topic as it illustrates the problems of re-writing history. His mode of writing attempts to encourage the reader to reconsider the valid interpretation of his history. Saleem writes “please believe that I am falling apart” ,as he begins “to crack like an old jug”, illustrating a sense of fragmentation of his story. This parallels the narrative structure of the novel as being circular, discontinuous and digressive. This fragmentation appropriates the concept of history, which was developed by colonisers. History works for a particular class of ideology, and therefore it will be contaminated, oblique and subjective.