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Essay on indian english literature
Classical indian literature
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A writer is designated on the basis of the socio-geographical community and culture to which he belongs and whose tradition, life and language he utilizes in his writings. The Indian English novelists of the 1980s are totally assimilated with the western culture and they establish an independent cultural and literary identity exposed to the experience of life in India and abroad- their writings are of an auto- biographical historical nature, primarily revelations of events and episodes, the experience of the place and its ambience.
The 1980s witnessed efficient emergence of new Indian fiction in English heralding a new era of change in its tone and tenor, with an impressive array of young novelists from the corridors of St. Stephen’s college, New Delhi – Amitabh Ghosh, Allan Sealy, Shashi Tharoor and Vikram Seth. Both quantitatively and qualitatively, by the virtue of his education, Vikram Seth qualifies as a member of the post- independence generation of economically privileged upper middle class Indians – his schooling at Dehradun Public School, his graduation at Corpus Christi College, Oxford, his doctoral studies at Stanford University. He is a famous polymath who has lived in three continents- Asia, Europe and Australia and written in a variety of genres- poetry, fiction, non-fiction, travelogue and libretto. He has studied several languages including Welsh, German, French, Mandarin, English, Urdu, Hindi and the Devanagari language.
In 1986, Vikram Seth wrote The Golden Gate, his first novel, a satirical romance describing the stories of young professionals in San Fransisco throughout their quests and questions to find and deal with love in their lives as well as each other’s lives. In 1993, Seth was propelled into the publi...
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...verse culture with the basic concept of love. His writings reveal the complex heterogeneity and multi locational contexts with trans-national mobility.
Works Cited
Seth, Vikram. The Golden Gate. New York: Random House Inc. 1986.
…. A Suitable Boy. New Delhi: Viking, Penguin India Ltd, 1993.
…. An Equal Music. New Delhi: Viking, Penguin India Ltd, 1999
…. Two Lives. New Delhi: Viking, Penguin India Ltd, 2005.
Gupta, Roopali. Vikram Seth’s Art: An Appraisal. New Delhi: Atlantic Publishers, 2005.
Kapur, Akash. ‘The Seth Variations’. Atlantic Unbound Online Edition. June 23, 1999.
Mee, John. ‘After Midnight: The novel in the 1980s and 1990s’. An Illustrated History of Indian
Literature in English. Ed. A.K. Mehrotra. New Delhi: Permanent Black, 2003.
Punekar, Rohini Mokakshi. Vikram Seth: An Introduction. New Delhi: Foundation Books, 2008.
Alexie, Sherman. The absolutely true diary of a part-time Indian. Groningen [etc.: Noordhoff, 2011. Print.
Owens, Louis. Other Destinies: Understanding the American Indian Novel. University of Oklahoma Press: Norman, 1992,1994
" Works Cited Momaday, N. Scott. House Made of Dawn. New York: Harper, 1968. Owens, Lewis. Other Destinies: Understanding the American Indian Novel.
Time and regions play a great deal in a poet’s work. Cultural differences and practices define the topics these writers are inspired by. Li Bo’s worldly perspective, his emphasis on nature and the heaven, contrasted with the more romantic view of the Greek and Egyptian poets. Though Sappho and the writers of the Egyptian love poems both talked about the power of adoration, their work still differed from one another. The poets of Egypt highlighted younger, intense passionate love whereas, Sappho wrote about love in a more practical, realistic, and darker perspective. Despite where ancient lyric poems came from, they all severed a purpose and that is to get their readers to feel for their writing on a more emotional level.
Von, Tunzelmann Alex. Indian Summer: The Secret History of the End of an Empire. New York: Henry Holt and, 2007. Print.
Jhumpa lahiri (1967), born of Bengal parents, was awarded Pulitzer Prize for fiction in 2000 for her debut collection of short stories entitled “Interpreter of Maladies”, (1999). Her very first novel “The Namesake” (2003) made her more popular. Her second short story collection “Unaccustomed Earth” (2008) has again established her as one of the most excellent and commendable fictionists of the world. Not only a Diaspora writer of Indian origin, but she can also be called an American writer, because of her constant obsession with the American way of life. Her narrative world shuttles between India and the U.S.A. The imbibing of influences of various past or contemporary authors and her excellent narrative technique establish her as one
Although different individuals and different cultures have diverse perceptions and ideas of love and the emotions it encompasses, we can easily communicate about love across the world. The emotions, actions, and type of people involved can determine how the lover’s relate to each other, to the society, and to the universe. This study will focus on how love was depicted in the Song of Solomon compared to the Ancient Egyptian Love Poems dating from the thirteenth to the eleventh century BCE. There is no known genetic continuity between the two, the comparison of both will help stress the perception of love. Both categories of literature focuses an ideal love rather than reality; we learn how some poets perceived love while defining its potential. Although these songs are similar in subject the way they approach love through the presentation and the use of imagery can be slightly different.
Utilising reconstructions established on historical events, historical fiction provides significant value for the process of historical inquiry. India Dark, by the Australian author, Kirsty Murray, provides deep insight into the history of South India and Australia and twentieth-century social ethics. Due to Murray’s ability to incorporate factual events with authenticity and reflect the values and spirit of the times, its value as an integral and well-researched composition of historical fiction is assured. Murray smoothly blends authentic events of history into her construction of historical fiction, engaging readers in a well-written story that utilises various perspectives. Seamless integration of factual detail describing authentic aspects
When discussing the controversial authors of Indian literature, one name should come to mind before any other. Salman Rushdie, who is best known for writing the book “Midnights Children.” The first two chapters of “Midnights Children” are known as “The Perforated Sheet”. In “The Perforated Sheet” Rushdie utilizes magic realism as a literary device to link significant events and their effects on the lives of Saleem’s family to a changing India. In fact, it is in the beginning of the story that the reader is first exposed to Rushdie’s use of magic realism when being introduced to Saleem. “On the stroke of midnight/clocks joined palms” and “the instant of India’s arrival at independence. I tumbled forth into the world”(1711). Rushdie’s description of the clocks “joining palms” and explanation of India’s newfound independence is meant to make the reader understand the significance of Saleem’s birth. The supernatural action of the clocks joining palms is meant to instill wonder, while independence accentuates the significance of the beginning of a new era. Rushdie also utilizes magic realism as an unnatural narrative several times within the story to show the cultural significance of events that take place in the story in an abnormal way.
Salman Rushdie’s novel Midnight’s Children employs strategies which engage in an exploration of History, Nationalism and Hybridity. This essay will examine three passages from the novel which demonstrate these issues. Furthermore, it will explore why each passage is a good demonstration of these issues, how these issues apply to India in the novel, and how the novel critiques these concepts.
Lately Indian novelist has shifted from rural to metro India, which is the living soul of the country. The problems of urbanization and the problems faced by the people of metro India find a powerful expression in Indian English fiction.
Rushdie’s Midnight’s Children, published in 1980, was perhaps the seminal text in conceiving opinions as to interplay of post-modern and post-colonial theory. The title of the novel refers to the birth of Saleem Sinai, the novel’s principal narrator, who is born at midnight August 15th 1947, the precise date of Indian independence. From this remarkable coincidence we are immediately drawn to the conclusion that the novel’s concerns are of the new India, and how someone born into this new state of the ‘Midnight’s child’, if you will, interacts with this post-colonial state. To characterise the novel as one merely concerned with post-colonial India, and its various machinations, is however a reductive practice. While the novel does at various times deal with what it is to be Indian, both pre and post 1947, it is a much more layered and interesting piece of work. Midnight’s Children’s popularity is such that it was to be voted 25th in a poll conducted by the Guardian, listing the 100 best books of the last century, and was also to receive the Booker Prize in 1981 and the coveted ‘Booker of Bookers’ in 1993. http://www.bookerprize.co.uk/
The measured dialogue between Reader and Editor serves as the framework through which Gandhi seeks to discredit accepted terms of civilization and denounce the English. These principle characters amply assist in the development o...
There are people bustling, merchants selling, Anglo-Indians watching, and birds flying overhead. How many perspectives are there in this one snippet of life? They are uncountable, and that is the reality. Modernist writers strive to emulate this type of reality into their own work as well. In such novels, there is a tendency to lack a chronological or even logical narrative and there are also frequent breaks in narratives where the perspectives jump from one to another without warning. Because there are many points of view and not all of them are explained, therefore, modernist novels often tend to have narrative perspectives that suddenly shift or cause confusion. This is because modernism has always been an experimental form of literature that lacks a traditional narrative or a set, rigid structure. Therefore, E. M. Forster, author of A Passage to India, uses such techniques to portray the true nature of reality. The conflict between Adela, a young British girl, and Aziz, an Indian doctor, at the Marabar Caves is one that implements multiple modernist ideals and is placed in British-India. In this novel, Forster shows the relations and tension between the British and the Indians through a series of events that were all caused by the confusing effects of modernism. E.M. Forster implements such literary techniques to express the importance or insignificance of a situation and to emphasize an impression of realism and enigma in Chandrapore, India, in which Forster’s novel, A Passage to India, takes place.
V. S. Naipaul, the mouthpiece of displacement and rootlessness is one of the most significant contemporary English Novelists. Of Indian descent, born in Trinidad, and educated in England, Naipaul has been placed as a rootless nomad in the cultural world, always on a voyage to find his identity. The expatriate sensibility of Naipaul haunts him throughout his fiction and other works, he becomes spokesman of emigrants. He delineates the Indian immigrant’s dilemma, his problems and plights in a fast-changing world. In his works one can find the agony of an exile; the pangs of a man in search of meaning and identity: a dare-devil who has tried to explore myths and see through fantasies. Out of his dilemma is born a rich body of writings which has enriched diasporic literature and the English language.