This Blog is an Assignment of Paper no.202, Indian English Literature – Post-Independence. In this assignment, I am dealing with the topic " Dynamics of Narrative Styles in 'Midnight's Children' ".
Academic Information
- Name: Rajeshvariba Rana
- Roll No: 16
- Semester: 3 (Batch 2022-24)
- Enrolment number: 4069206420220023
- Paper No: 202
- Paper name: Indian English Literature – Post-Independence
- Paper code: 22407
- Topic: "Dynamics of Narrative Styles in 'Midnight's Children'"
- Submitted to: Smt. S.B. Gardi, Department of English, MKBU
- Email Address: rhrana148@gmail.com
- Date: 27th Nov 2023
" Dynamics of Narrative Styles in
'Midnight's Children' "
Introduction:
Salman Rushdie stands out as a highly controversial figure within the Indian diaspora, particularly gaining prominence with the release of his monumental work, "Midnight's Children," which earned him the Booker of Bookers in 1993 and was later crowned the best of Bookers in 2008 for its outstanding contributions. Notably, the novel showcases Rushdie's departure from traditional narrative techniques, marking a significant shift in both style and language usage within Indian English literature.
"Midnight's Children" unveils a groundbreaking narrative technique that diverges from conventional norms. Rushdie's approach not only defies traditional storytelling methods but also paves the way for a wave of experimentation with narrative styles and the utilization of the English language. This departure signifies a transformative moment in Indian literature in English, with Rushdie at the forefront, steering it in a new direction.
William Walsh aptly commended Rushdie's technique, recognizing its unique blend of magic, fantasy, stark realism, extravagant force, multi-mirrored analogy, and a potent symbolic structure. In doing so, Rushdie captures an astonishing energy within the novel, marking an unprecedented achievement within the 150-year-old tradition of the Indian novel in English.
Magic Realism:
Rushdie adopts the device of Magic realism in Midnight's children. Magic Realism is a term originally coined by German out Critic Frantz Roh in 1925 to describe the tendencies in the work of certain German painters in the early twenties. But the term was first applied to literature by Cuban novelist Alejo Carpentier in the late 1940's. Basically magic realism was a Latin American phenomenon characterized by the incorporation of supernatural elements into realistic fiction.
In "Midnight's Children," Salman Rushdie employs the technique of magic realism as a foundational element in several instances throughout the narrative. Within the novel, the protagonist Saleem Sinai possesses an extraordinary sense of smell, enabling him to discern the thoughts and emotions of others. This unique gift mirrors that of his grandfather, Adam Aziz, who shared the same distinctive nose and magical ability.
The novel unfolds a crucial episode where Adam Aziz's remarkable olfactory sense and magical nose become instrumental in his survival during the Jallianwala Bagh Massacre:
"As the fifty-one men march down the alleyway, a tickle replaces the itch in my grandfather's nose... Adam Aziz ceases to concentrate on the events around him as the tickle mounts to unbearable intensities. As Brigadier Dyre issues a command, the sneeze hits my grandfather full in the face. 'Yaaaakh-thooool,' he sneezes and falls forward, losing his balance, following his nose, and thereby saving his life".
This incident not only injects humor into the narrative but also evokes a sense of pity and fear in the hearts of readers. In this manner, the author skillfully intertwines magic realism with realistic and historically significant events in India, creating a nuanced and engaging narrative.
The Cinematic Elements:
The influence of the Bombay film industry can also be seen in the narrative of Midnight's Children. Rushdie adopts the structure of the Bombay film industry to a large extent, which provides him a perfect model for the novel. In this way the novel is very close to Hindi film.
In "Midnight's Children," Salman Rushdie uses familiar story situations like mistaken identity and typical movie characters like the good "ayah" Mary Pereira to bring a Bombay film feel into the narrative. One frequently discussed cinematic element is the swapping of Shiva and Saleem at birth. Rushdie himself, in his essay "Midnight Children and Shame," mentions that this dramatic switch was inspired by the style of Bombay Talkies, a B-movie concept, reflecting the influence of the movie city on such notions. He sees these characters not just as offspring of their parents but as children shaped by time and history.
Other cinematic elements in the novel include the portrayal of natural mothers as inherently good and stepmothers as evil. There's also a common theme of virtuous male protagonists being pitted against their evil counterparts. Shiva, Saleem's alter-ego, takes on the role of both a rebel hero and a villain in the Bombay film tradition.
During the 1970s and 1980s, the impact of Bombay cinema on the Indian mindset was significant, making these cinematic influences easily understandable in the context of the novel.
Diversification of Languages:
Another cool thing about Rushdie's storytelling is how he adds lots of Hindi and Urdu words to the English, giving the novel a special Indian flavor. This mix of words is like a blend of different languages, and we can call it the "Chutnification" of languages.
Chutnification is the adoption of Indian elements into the English language or culture. The word “chutnification” was coined by Salman Rushdie in his novel, Midnight's Children.
In the text, you'll find words like 'ekdum,' 'angrez,' 'nasbandi,' 'dhoban,' 'firangee,' 'rakshasas,' 'garam masala,' 'baba,' 'badmash,' 'goondas,' 'sarpanch,' 'paan,' 'khichari,' 'gur,' and many more used seamlessly in English. Rushdie also uses expressions like 'baap-re-baap,' 'hai-hai,' 'sab kuch,' 'chi-chi,' 'pyar kiya darna kya,' 'ooper-niche,' 'bhai-bhai,' 'nimbu-pani,' and so on.
Sometimes, Rushdie combines words and phrases to create compounds like 'overandover,' 'suchandsuch,' 'birthanddeath,' 'updownup,' 'blackasnight,' showing his creativity and command over the English language. These language experiments make "Midnight's Children" a really interesting book to read.
Hinglish Language:
Rushdie, unlike the novelists who preceded him, uses the hybrid, pan-Indian “Hinglish” to communicate the worldview and emotions of his characters. It is very effective because it is easily recognizable as the speaking voice of the common man or woman in India. This was not so in the novels of Narayan, Rao, and Anand.
She (Padma) tries to get me away from my desk, saying, "Eat, na, food is spoiling." But I stay all hunched up with my papers. Padma snorts and smacks her wrist on her forehead, saying, "Okay, starve, starve, who cares two pice". Rushdie uses British English for the smart Saleem, who's narrating the story, and "Hinglish" for Padma, his uneducated sweetheart. This shows us they're from different social classes. The British English shows Saleem's stubborn and moody side as Padma tries to get him to eat like an Indian wife might do. Her "snorts" and wrist smacks show their frustration and his stubbornness. The Hinglish used here tells us Padma isn't speaking in English.
Oral Tradition and Storytelling:
The novel is structured as a framed narrative, with Saleem telling his life story to his love interest Padma. This oral storytelling technique gives the narrative a conversational and intimate tone, making the reader feel as if they are being personally addressed by Saleem.
Stream of Consciousness:
Rushdie employs a stream-of-consciousness narrative style, delving into Saleem's thoughts and innermost feelings. This technique allows for a deep exploration of the character's psyche and provides insight into the complexity of his identity.
The way of telling a story using the first person perspective(First Person Narrative):
"Midnight's Children" is narrated in the first person, with Saleem Sinai serving as the storyteller. This means that the reader experiences the events and emotions of the novel through Saleem's eyes and perspective. Saleem recounts his life story, providing insights, feelings, and personal reflections throughout the narrative. This first-person narrative technique adds a personal and intimate touch to the storytelling, allowing readers to connect deeply with Saleem's character and experience the unfolding events through his unique lens.
Similar to the storyteller Sanjay in the Mahabharata, who had a special ability to see things from far away and describe the events of the Kurukshetra war, Saleem in "Midnight's Children" has a magical power. This power allows him to see things from a distance and even read the minds of those reading his story.
Intertextuality:
Rushdie incorporates a wide range of literary and cultural references, blending high and low culture. The novel engages with various literary traditions, myths, and folklore, creating a tapestry of interconnected stories and ideas.
Historical Allegory:
"Midnight's Children" can be read as a historical allegory, with characters and events symbolizing broader political and social realities. The personal and the political are intricately linked, and the novel can be seen as a commentary on the post-colonial condition.
Rushdie’s Booker and Best of the Bookers award winning novel Midnight’s Children (1981) constitutes a turning point in the history of Indian English Novel.
Due to its overwhelming impact upon the ensuing generation of writers, the decade following its publication, have been termed ‘Post-Rushdie’ years. Midnight’s Children presents a continuous conflict between personal and national domain. The protagonist who is ‘handcuffed to history’ is bound to brook the nation’s suffering as well as to enjoy some weird powers.(Rushdie)
Allegory is like a long metaphor where symbols, actions, characters, and settings represent hidden ideas. It's a way of telling a story where these symbols and things stand for something else, kind of like a secret message. In simple terms, allegory comes from how a culture views and uses language.
Some smart critics, like Northrop Frye and Jonathan Culler, see allegory as a style of writing or a way of using symbols, not just a type of story. Another important critic, Paul de Man, thinks of allegory as a tool that keeps symbolism from getting too fancy and distant. Instead, it brings it back down to earth.
Conclusion :
the exploration of narrative styles in literature reveals the diverse and dynamic ways in which authors craft their stories. From the magical realism of Salman Rushdie's "Midnight's Children" to the stream-of-consciousness in Virginia Woolf's works, narrative techniques serve as powerful tools that shape the reader's experience and understanding. Whether through the lens of historical allegory, oral tradition, or linguistic innovation, these styles contribute to the richness and depth of storytelling. The artful use of multiple perspectives, intertextuality, and the seamless integration of the personal with the political underscore the versatility of narrative techniques in conveying complex themes and emotions. As readers, we are invited to navigate literary landscapes where the boundaries between reality and fantasy, past and present, blur, offering a nuanced and profound engagement with the human experience. In the realm of narrative styles, authors continue to push boundaries, challenging conventions and expanding the possibilities of storytelling, making literature an ever-evolving tapestry of creativity and expression.
(Word Count 1736, Images 02)
Works Cited
Kumar, Ashok. “Narrative Technique In Salman Rushdie's Midnight's Children.” Ignited Minds Journals, January 2015, http://ipublisher.in/p/3314. Accessed 27 November 2023.
Kumar, Prashant. “Midnight’s Children: An Allegory of Indian History.” Ignited Minds Journals, April 2017, https://ignited.in/a/57702. Accessed 27 November 2023.
Rushdie, Salman. Imaginary Homelands: Essays and Criticism 1981-1991. Penguin Publishing Group, 1992.
Thomas, Deepa. “The Chutnification of English in Salman Rushdie's Midnight's Children: A Stylistic Analysis.” The Research Publication, Asian Review of Social Sciences, 1 February 2019, https://www.trp.org.in/wp-content/uploads/2019/02/ICMAS-Special-Issue-February-2019-pp.10-12.pdf. Accessed 27 November 2023.
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