This paper presents the readers, about R.K.Narayan, the renowned Indian writer belonging to the 20th century writers. Through his works he presents the typical Indian Society wherein he describes the life of the middle class Indian family. He has an extraordinary power of evoking a sense of life. He presents the habits, manners, daily routine, activities of the common man in the world of Malgudi the immortal town created by him. He is a rare example of pure artist and as a novelist of common people and common situation.
Key words: Novels, Indianess, common people, realism, fantasy.
R.K.Narayan, the most outstanding writer of Indian fiction, a novelist who has no axe to grind, belongs to the 20th century writers of Indian English. Born in
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It may mean no marriage, no happy ending and no hero for standardized stature. Accidents, no happy ending and sudden reversal of fortune are used only on a very limited scale; his action mainly develops logically from the acts and actions of his characters. In this respect, Narayan is as much a ‘materialist' as Henry James, H.G.Wells and Arnold Bennet.
Narayan's craftsmanship in plot construction does not reveal a consistent quality. In his novel Swami and Friends the story flows on in a very easy manner and helps us understand and Indian middle class family but developed an architectonic sense in his second novel, The Bachelor of Arts, and his third novel, The Dark Room, reveals definite signs of technical maturity.
Narayan uses both fantasy and realism in his works. As Uma Parameswaran points out ‘Narayan uses both fantasy and realism in eight of his ten novels, they are to properly balance. The first half has excellent realism – drawn setting, characterization and action. About halfway through, there is a distinct break and fantasy takes over'. Generally, his plots split into two parts – the realistic and the fantastic – "the realistic vein being carried alongside the fantastic and then dropped
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In The Guide alone, Narayan deviates from the traditional mode of narration, wherein part of the story is told by the author and part in the first person by the hero himself. The novel begins with the release of Raju from prison. What happens to Raju after his release is told by the narrator whereas whatever had happened to Raju before he was imprisoned, is told in series of flashbacks in Raju's own words and finally in the form of a confession to Velan who has come to think of him as a saint. The effect of this technique is to think of him as a saint and to make the figure of the hero more sharp and real than that the other
People “find themselves” in many different ways. College, or moving out is one way our culture takes the next step into adulthood. We usually use this time to find our self and create the life we want. Some people have taken that to the next step by walking a thousand miles to find themselves or even moving to a different country to seclude themselves for a while. I have not found myself. I am going to college in hopes that I find myself one day. Being in the dark and confused can be scary. I can relate to Siddhartha in this way. He felt the need to leave his father, rebel against him, to find his purpose in life.
The process of initiation enables us as readers to fully engross in the characters encounters, conflicts, and paths. Siddhartha showed strength and enrichment through this cycle as well as endured a great pain in order to become a fiercer person. Through conflict, despair, peace, and salvation Siddhartha is enlightened by experiences and understanding that lead to the concluding outcome of salvation.
A short and simple read about Amrith and Niresh continuously damaging but instantly repairing their friendship. It is clear that the two have a strong bond, this is evident by how eager Niresh is when he encounters Amrith and vice versa. At the beginning of the chapter, it describes how anxious Amrith was, hoping that Niresh would show up at his workplace. Later on the text, it instils a joyous mood with the two friends enjoying lunch together for it to be shattered by Niresh’s curiosity about Amrith’s past. The situation is quickly resolved with Amrith pretending as if it was no big deal and asks Niresh to tell one of his tardy jokes, almost like a comic relief.
One’s ego can be a strength, but also a great weakness. Without a healthy ego, one is likely to have low levels of self-esteem, but once bruised, it can take ages to heal. At the beginning of the novel The Man-Eater of Malgudi, Nataraj is a character that displays a healthy ego, but eventually, like his blue curtain in the printing press, it is destroyed because of the choices he makes. He is a husband, father, and friend that is respectful, religious and kind, but he also enjoys being the power holder in situations. In the first couple of chapters of the novel, Nataraj's ego is fueled by the knowledge that he makes his wife and son happy, the village people’s admiration of his parlor, the power that his position grants him over Sastri, and the fact that his business flourishes while his competitor struggles.
She handled typical Indian themes and has successfully depicted the dilemmas and conflicts of women in their interactions and dealings with their partners. Through the aspects of kindness, tolerance and understanding of human relationships this novel can better be accepted by the readers. The despair and disappointments in the life of Jaya is clearly understood by the readers from the very beginning of the novel. She begins the novel by saying
One statement in the beginning of the book was especially poignant to any one who studies Indian culture, It is easy for us to feel a vicarious rage, a misery on behalf of these people, but Indians, dead and alive would only receive such feelings with pity or contempt; it is too easy to feel sympathy for a people who culture was wrecked..
Narayan had his main character speak only the truth throughout his interesting day. Whether it was telling his wife that he was “unable to swallow” her food that he found quite disgusting, discussing with another colleague that he was not affected and did not mourn the loss of “so-and-so” death, or telling his boss that he was a terrible musician and “should stop trying”. In all of those
In conclusion, by using dramatic irony, showing internal conflict, and using figurative language in his story “Like The Sun,” R.K. Narayan reveals that the truth can have consequences. Throughout the story Narayan gives examples of how when the truth is told there are harsh consequences. However, Narayan shows that the truth may hurt people's feelings initially, but in the end, it will help people learn and grow.
Sandhu, Sarbjit K. The Image of Woman in the Novels of Shashi Deshpande. New Delhi: Prestige, 1991.
The author is a software engineer from Odisha and a rising star in Indian literary scene who has started his writing
Upamanyu Chatterjee is one contemporary Indian English author who has attracted adulation and admonition in equal measures. His critics, who find his novels often dealing with unpalatable issues, loaded with heavy negativity, cynicism and turgid expressions, however, unanimously aver that he is witty and intelligent, endowed with a unique style of wry playfulness mixed with keen observation. He defies conventions and is rarely calm or ‘normal’ in his novels. Having emerged as the sort of champion of the de-centred and de-cultured, Chatterjee delves deep in the postmodern ethos of the contemporary Indian scenario. But the question is, are the ‘bleak-books’ of Upamanyu Chatterjee really devoid of any redeeming positive value? This study attempts to get the answer of this question through the process of deconstructing the author’s sensibility and the formative influences on his creativity.
Indian Writing in English has a special status in English Literature owing to its treatment of women characters. Short stories help the writers to project select characters in an impressive way to the readers. In Indian context the status of woman in a society and her treatment is very different from those of her European or American counterparts. Women are depicted both as a good and evil in literature by various writers. However, in no literature is a women stereotyped as was done in Indian literature. Away from the mythical stereotyping of women, Ruskin Bond portrayed his women in a different way. The female characters of his short stories range from a small child to a grandmother. These characters are as powerful as men and have left a strong impression on the readers. I have chosen following eight short stories for the critical analysis of Ruskin Bond’s Women in this paper.
India constitutes a large number of diaspora all over the world. Migration of people in various countries is no longer a surprising issue. Immigrants endeavour to settle in adopted land. Though they adapt foreign way of life and culture yet the pull of past intervenes in their life. They become nostalgic and feel alienated. If out of these immigrants some choose writing as their profession, they consciously or unconsciously give vent to their diasporic experiences in their writings. They attempt to focus on pains, dilemma, discrimination and conflicts they have to face there. Through their imaginary characters they catharsise themselves.
Crane, Ralph J. Inventing India: A History of India in English Language Fiction. London: Macmillan, 1992.
This total idea of challenging and creating a new identity may seem quite a utopian concept but it is not so impossible. The present paper will illustrate the writings of Mridula Garg and Arundhati Roy. The characters in their work are not extraordinary and utopian but common people like us whom we can come across in our day today life. Here for the purpose of analysis Garg’s three short stories have been chosen. They are: Hari Bindi, Sath Saal Ki Aurat and Wo Dusri.