Ruskin Bond

Her stories are fiction, but they use aspects from people she has encountered in her daily life. Lower and middle class characters appear the most frequently throughout her works. The way she uses these ordinary people and transforms them into dynamic characters is unmatched. She uses very lengthy and in-depth descriptions of her character’s inner qualities that shape who they are. She uses these descriptions to show the inner workings of the character’s minds through an omniscient view (Entzminger 685-66).

Similar to many other authors during the late nineteenth century, Doyle seems to allot a whimsical and exotic quality to India and its people. India is characterized as a land of allure and extravagance when describing the souvenirs that various characters in the novel encounter or possess in their homes. The fact that these mainly aristocratic households have such artifacts in their

In his early thirties he started writing poetry for himself as he couldn’t do much else. His poetry has taken him all around the world talking to schools, universities, workplaces, construction sites and many more.

He writes his story not to scoff, scold or scorch, but to spark discussion and help people see the simple truth that "Human interaction is a blessing." lives with prejudicial barriers.

As I was reading this book I notice he really goes into detail about the people in his life by using Quotes that they say that describe who they are.

At his off-reservation high school, he was the only Indian, except for the school mascot. He excelled in his classes and became a star basketball player, an experience that inspired his first young-adult novel, The Absolutely True Diary of a Part-Time Indian.

In the introduction of the book, he goes through his own life and what he has gone through to get where he is in the present. He is a journalist turned novelist, and met many people and challenges on his way. The introduction is very technical with not much of a storyline like most fiction novels. In many instances, he alludes to the face of India as being happy and prosperous in opposition to the normal lives that most Indian people lead.

book published at the age of 18. He often writes about nostalgia for childhood, social criticism,

What I loved about his books is that they are stories in themselves but at the same time they dive deep into topics and subjects that were relevant when they were published and still of great importance today. Many books hit on topics such as equality, Individualism, strict governments and social unjust. From reading from these types of authors I feel it has improved my writing. I see how they are all writing and making a point, but when doing so they make you feel a part of the story with the dialogue, imagery and diction that they each use in their writing. Its makes me think more when

His big break as a children’s book writer came as a result of his wife. She was a producer of a television show and invited one of the show’s guests home for dinner on night. After dinner she and Chris Van Allsburg showed him some of his illustrations as part of a casual after-dinner conversation. He was immediately impressed and gave the number of Walter Lorraine, an editor with Houghton Mifflin Company, to him and asked him to call him. When he finally contacted Mr. Lorraine, the man was so impressed with his drawings that he convinced Chris Van Allsburg that he should venture into children’s book writing.

He says, “Despite all the books I read, I’m still surprised I became a writer” (1998, p. 3). He transitioned his love for reading into a career of making works that others can enjoy. He uses his time devoted to teaching Indian children the art of creative writing. Harkening back to his childhood, he was never taught to write poetry, short stories, and novels (Alexie, 1998, p. 3). He wants them to experience the joy of putting pen to paper and creating something, anything that may be enjoyed. He goes on to say, “Books…Books…I am

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.

The time the novel took place was around the late nineteenth century. The story takes place in a hot and dry location of British India. Most of the scenes either take place in the wilderness or the streets of India.

As Mehta describes the Bombay of his youth, the reader is given a nostalgic view of what the city used to be. As a child, growing up there he is not the outsider that he becomes when his family moves to New York. He describes this experience as a, “central event, that fulcrum of time,” which shaped the rest of his life (6). Subsequently, throughout the rest of his childhood he desires to go back to Bombay and to leave New York, a place

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.