Magic realism as post-colonialist device in Midnight's Children Magic realism in relation to the post-colonial and Midnight's Children 'The formal technique of "magic realism,"' Linda Hutcheon writes, '(with its characteristic mixing of the fantastic and the realist) has been singled out by many critics as one of the points of conjunction of post-modernism and post-colonialism' (131). Her tracing the origins of magic realism as a literary style to Latin America and Third World countries is accompanied
Midnights Children Salman Rushdei 1. Comment on the author’s style and characterization. Are the characters believable or paper cutouts? Comic or tragic or both? Are their dilemmas universal to human nature or particular to their situation? - Rushdie's narrator, Saleem Sinai, is the Hindu child raised by wealthy Muslims. Near the beginning of the novel, he informs us that he is falling apart--literally: I mean quite simply that I have begun to crack all over like an old jug--that my poor
Whose history, which narrator? Salman Rushdie’s Midnight’s Children can be read, inter alia, as the unfolding of the twentieth-century India’s history. There is in the novel, virtually all of the twentieth century Indian history: the Jallianwalla Buch tragedy, Quit India movement, Cabinet Mission, freedom movement, Muslim League and its role, riots and bloodshed subsequent to the independence, Five Years Plans, reorganization of Indian states and language riots, Chinese aggression, the theft of
Salman Rushdie’s ‘Midnight’s Children’ 1 Introduction This paper will try to show how Salman Rushdie uses narrative technique, genre and the concept of history in a very new way in Midnight’s Children in order to place his story outside the euro-centric tradition of literature, narrative and history. These traditions, appearing in the colonial period, have constructed a notion of universalism in literature where the ‘classics’ of the western canon have set the order of the day (Ashcroft 91-92)
Midnight’s Children essay Salman Rushdie's creation, Saleem Sinai, has a self-proclaimed "overpowering desire for form" (363). In writing his own autobiography Saleem seems to be after what Frank Kermode says every writer is a after: concordance. Concordance would allow Saleem to bring meaning to moments in the "middest" by elucidating (or creating) their coherence with moments in the past and future. While Kermode talks about providing this order primarily through an "imaginatively predicted future"
Introduction Globalization is perhaps the most important, defining and pervasive phenomenon of our times. It certainly has far-reaching consequences and extends its influence in various forms to almost every part of the world. As Suman Gupta puts it, the phenomenon has achieved “an absolute embrace of the core word, the ‘globe’ itself” and appears relentless in its march, co-opting or crushing everything that stands in its way. Globalization has assumed protean qualities so much so that defining