Coolie By Mulk Anand Analysis

The dominant idiom of Indian writing today is firmly entrenched in pain, anxiety of displacement, nostalgia, yearning to belong to roots, and so on. Arundhati Roy’s The God of Small Things and Kiran Desai’s The Inheritance of Loss are two such novels that explore the tragedy of man on several levels using different perspectives. Both the novels are about averted culture-clash tragedies, homogeneity vs. heterogeneity, and about Indian sensibilities.

Indian English Literature is a literature which is a combination of Indian literature and Indian literature written in English. Indian writings in English are a product of the historical encounter between the two cultures – Indian and the western—for

R.K. Narayan is one such modern writer whose novels are set in the colonial and post-colonial periods of India. In his works, he created the imaginary town of Malgudi, which was in the state of Tamil Nadu in South India, where realistic characters in a typically Indian setting lived amid unpredictable events. The book ‘Waiting for the Mahatma’ written by Narayan begins in latter part of the colonial era, in the 1940’s, when the Quit India movement is taking place. Though a greater part of this book is set in Malgudi and its surrounding villages, some scenes take place in other parts of the country like Delhi.

The expected impact of the Gandhian movement on Indian English literature was the sudden blossoming of realistic novels during the 1930s. Novelists turned their attention away from the past to focus on contemporary issues. In their novels existing social and political problems that Indians found themselves in were given importance. The nation-wide movement of Gandhi not only stimulated Indian English novelists but also provided them with some of their high-flying themes, such as the struggle for freedom, the East-West encounter, the communal problem and the miserable condition of the marginalized, the landless poor, the downtrodden, the economically exploited and the

Through the prescribed framework of magic realism, the novel allows its multitude of characters, belonging to diverse cultural backgrounds, to appraise and originate their own versions of Indian history, thus subverting British colonial versions of history. Magic realism becomes obligatory to communicate the postcoloniality of India, and within its framework, the novel explores and presents a postcolonial history of its own. The cultural and social hybridity, along with the historical hybridity present within the novel allows the text to exemplify the major themes of the novel and postcoloniality itself: the formation and telling of history, self, and narratives. The novel effectively and noticeably depicts the problems of postcoloniality and

Nostalgia cannot be the sole modality for understanding the past and the self, yet neither can history. The two disparate parts must be brought together in order to understand the influences which, to a degree, create and shape a person. The critical conversation surrounding Kipling’s works tends to reduce their complexities to the single theme of imperialism. In doing so, the manifestation of his personhood is overlooked and ignored, creating an incomplete picture of Kipling and his beliefs. Though an advocate for imperialism and regarded by George Orwell as “the prophet of British Imperialism,” Kipling is unwillingly implicated within its rigid constructs (118). There is a unique complexity to Kipling’s works that stems from a psychological trauma. Kipling associated India with a fanciful childhood heightened through his expatriation at six years old. In turn, as Wurgraft highlights, spatiality proves to be incredibly important for analyzing Kipling’s works; when he writes of and within India his tone significantly shifts from a harsh imperialist to a sympathetic, almost childlike, idealist (103-4). Therefore, while Kipling vocally advocates for imperialism, he does not do so at the expense of India and its inhabitants. This is a result of his affinity towards India in relations to his childhood, a result which manifests in his spatially Indian short stories. Of these short stories, “Without Benefit of Clergy” most acutely depicts his fanciful nostalgia to return to an

There are many aspects of Indian life: the people, the technology, the culture. The list is forever evolving and increasing. In the stories “They Are Staring At Me” and “My Aunt Gold Teeth”, Vidia Naipaul introduces similar aspects of Indian life through first-person and third-person viewpoints while revolving around religious themes and ideas. In “They Are Staring At Me”, the reader is engaged by the viewpoint of the protagonist when he encounters a Sikh who displays immense amounts of anger and criticism towards Indians and other Sikhs. In “My Aunt Gold Teeth”, the reader experiences Gold Teeth's religious inspirations and conflicts through the viewpoint of her nephew. Considering these similarities, Naipaul contrasts the third-person viewpoint, the meaning of religion, and the characteristics of wealth between the stories to express different aspects of Indian life.

Indian culture and society experienced drastic changes during the middle of the twentieth century. The country experienced rapid development of its urban centers, agrarian lifestyles were replaced by commercialized industries, and old social norms were replaced by new, British-influenced values. Many of those changes are depicted in Kamala Markandaya’s 1954 novel, Nectar in a Sieve. Written only seven years after India achieved independence, Markandaya’s novel chronicles the life of Rukmani, the book’s narrator. Rukmani recounts the story of her marriage, the lives of her children, and the hardships she endures in life, which include the death of her husband and the deaths of several of her children. This essay will discuss the impacts of modernity on Indian culture and society in the middle of the twentieth century, and it will show how these impacts were depicted in Markandaya’s novel. Ultimately, Markandaya’s novel shows how rapid changes in Indian culture and society caused serious challenges for many Indians and forced many Indians to abandon traditional lifestyles.

This paper focuses on the ‘subaltern’ community in the post colonial society. Adiga’s The White Tiger throws a ray in the downtrodden and oppressed in the modern world. Adiga being the mouth piece of the deprived, lonely and alienated section of the society through his character Balram. He represents Balram as the white tiger which is the rare kind of animal who has the matchless intellectuality being born in the dark side of India. For Adiga Darkness refers to the oppressed community which is the majority in india and light as the so called well to do in the society. The aim of the paper is to bring into focus the major section of people in India who are the have-nots.

Rabindranath Tagore (1861-1941) was a thinker, writer and artist. He portrayed his native Bengal, its culture and people, in deeply felt and perceptive prose. His poetry and non-fiction writing on the other hand expressed his philosophy of universalism and humanism . Tagore came late to painting, he did not begin to paint till his sixties, but here again he was original and innovative in his compositions. Part of the reason for this may be the fact that he may have been partially color-blind. Tagore was also deeply engaged with the political life of India. He was very well informed on political and social affairs of the day. He thought deeply about contemporary problems . The India of Tagore’s day was colonized and economically exploited. Tagore

India's struggle for Independence had acquired a new dimension with the Revolt of 1857 and at around the same time, in 1861, one of India's most celebrated poets Rabindranath Tagore was born in Bengal. The time in which Tagore is born and later begins his literary career becomes important in understanding the politics of his writing; the poets and writers who wrote before him and also how he begins to experiment with the forms, styles and images in modern Indian poetry. This paper seeks to explore the relationship between the time in which Tagore is writing, specifically with reference

Indo-Anglian literature forms an integral part of English and it has attained a distinct place in the literary landscape in the literary landscape of India. It is a synthesis of two great literary traditions-Indian and Anglian. It is an offshoot of colonial rule and in more or less a synthesis of two great cultural traditions. For the past two decades it has grown from strength to strength and acquired a new change and life with the emergence of talented second generation of writers who are at home in English language more than the native speakers. Among the second generation of writers may be included Amitav Ghosh, Vikram Seth, Upamanyu Chatterjee, Shashi Tharoor, Shashi

The daily life of the Indians, the traditions of the land and indeed the superstitions and values of India gains a form in the remarkable novel “The Guide”. R.K.Narayan quite consciously in his novel “The Guide” echoes the more and tradition of the Indian society amidst his literal symbolism. R.K.Narayan’s chief concern is to give an artistic expression of Indian life. Though his art form is western, his theme, atmosphere, situations and scenes are truly Indian. This is how Narayan’s novels show Indian society negotiating the complex terrain of the modern. Malgudi, in that sense, becomes a laboratory where various possibilities and positions are tried. The Guide, undoubtedly Narayan’s best-known novel, as a narrative of modern India is about the nature of an ancient Indian institution, that of the guru, which indeed has no exact English counterpart. R. K. Narayan’s use of slightly lighter, slightly more frivolous and certainly more ambiguous word, “Guide,” is therefore telling.

E.M. Forster’s classic novel “A Passage to India” tells the story of a young doctor, Dr. Aziz, and his interactions with the British citizens who are residing in India during the time of the British Raj. Throughout the novel, the reader gets many different viewpoints on the people and the culture of India during this point in history. The reader sees through the eyes of the Indian people primarily through the character of Dr. Aziz, and the perceptions of the British through the characters of Mr. Fielding, Adela Quested, and Mrs. Moore. Through the different characters, and their differing viewpoints, the reader can see that Forster was creating a work that expressed a criticism that he held of the behavior of the British towards their Indian subjects.

V.S. Naipaul is the second literary personality from Indian roots after Rabindranath Tagore to be awarded the Nobel Prize for literature in 2001. Most of the works of Naipaul deal with the theme of isolation, frustration and negation in a colonized society which turns out to be cruel, villain and hostile to the expectations and aspirations of the protagonist. He also deals with the clash of culture between the old and the new in multi- racial society. Search for identity is the foundation upon which the works of Naipaul stand. Fiction is an instrument of analysis for Naipaul. Perhaps, this is the only reason why his literature revolves round the recurring themes of colonial phobia, individual’s search for identity and clash of culture. The identity of a