The present book is a collection of critical expertise and acumen on the four celebrated and
coveted Indian Booker Prize winning novels of India: Salman Rushdie’s Midnights Children,
Arundhati Roy’s The God of Small Things, Kiran Desai’s The Inheritance of Loss and Aravind
Adiga’s The White Tiger. These four novels gave Indian English Fiction exclusive wavelength
and frequency in the worldwide spectrum of literature. The present critical book co-edited by
Dr Vivekanand Jha and Dr Rajnish Mishra renders an exhaustive and comprehensive study of
these novels in all facts, forms and configuration. The inclusion of the three interviews further
adds glory to the worth of this book and will be extremely instrumental for the students,
research scholars and readers to elucidate their work adequately. The book honed together
with quality and variety will open a floodgate for critiquing the Booker Prize winning novels of
India. The book presents the articles of Dinesh Kumar, Raji Ramesh, N Chandra, Usha Kishore,
Josephine Muganiwa, Ambarish Sen, J. David Livingston, Sophia Livingston, Shilpi
Bhattacharya, Gulnaz Fatima, Kakali Bhattacharyya, Maumita Chaudhuri, Dalvir Singh
Gahlawat, Lipsa Malhotra, Jubimol K. G., U. Gayathri Devi, Shalini Misra, Deeptangshu Das,
Kavita S. Vansia, Ramesh P, Chavan, Shawn Stufflebeam, David Barsamian, Dinyar Godrej,
Rajnish Mishra and Vivekanand Jha.
Dr. Vivekanand Jha is a translator, editor and award winning poet. He is the author of 05 books
of poetry in English, 01 critical book on the poetry of Jayanta Mahapatra and has edited 09
critical anthologies on Indian English Writing. His poems have been published in more than
100 magazines and 25 poetry anthologies round the world. He has also edited The Dance of
the Peacock: An Anthology of English Poetry from India to be published by Hidden Brook
Press, Canada. He is the son of the noted professor, post and award winning translator Dr.
Rajanand Jha (Crowned with Sahitya Akedemi Award, New Delhi).
Dr. Rajnish Mishra is an Assistant Professor, Department of Applied Science and Humanities,
IMS Engineering College, Ghaziabad, Uttar Pradesh, India. He has co-edited six critical
anthologies on Indian English Literature. He is presently working on the psychogeographical
effect of his city, Varanasi, in both creative and critical media.
The anthology you hold in your hands presents a composite collection of critical articles on
the four Booker Prize winning novels of India: Salman Rushdie’s Midnights Children, Arundhati
Roy’s The God of Small Things, Kiran Desai’s The Inheritance of Loss and Aravind Adiga’s The
White Tiger. Indian English literature has made as in-erasable mark in the post-independence
period. Though it has made all around progress and name but the Indian English fiction in
particular has revolutionized its identity. Indian English novelists transcended the boundary of
local and provinciali and surprised the literary world by romping home some of the coveted
prizes, awards and acclaims.
When Rushdie first published Midnight’s Children in 1981, no one could have anticipated that it
would be an auspicious dawn to dense darkness pervading the Indian English Novel. The
novel not only brought Rushdie laurels and literary frame but it also opened floodgates of
success in the literary market of the world. The novel earned publicity as well as royalty and
at the same time laid a foundation for booming economy of the print market for Indian English
Fiction. It opened up the way for the pre-publication purchase of the exclusive rights of books
by Indian English novelists like Vikram Seth, Amitav Ghosh, Arundhati Roy, Pankaj Mishra, Raj
Kamal Jha and Shashi Tharoor who have since won huge advance royalties from their
publishers in the West. It was almost as this one novel had triggered off a new market for
Indian English writing and the Indian English novel had been positioned from margin to the
centre of the fictional world.
Now coming to the contents, the book begins with a tribute poem of Vivekanand Jha which
eulogizes Indian English Fiction. There upon Dinesh Kumar and Raji Ramesh’s paper is about
the cultural negotiation in the Indian society and its resonance as visible in a new historicist
reading of Adiga’s The White Tiger. The paper of N. Chandra analyses how Adiga’s The White
Tiger is a bitingly sarcastic remark on the Indian darkness where corruption thrives and enjoys
seeing innocence and virtue taking their last breath. Usha Kishore’s paper is about the
systematic and systematized exploitation of a permanent kind, of women and dalits in the
Indian society as shown in Roy’s The God of Small Things. Josephine Muganiwa’s paper
locates Rushdie’s Midnight’s Children in the larger traditions of magic realist and postcolonial
novels, showing how it possesses the traits of both.
Ambarish Sen’s paper deals with the (re)creation of history Salman Rushdie’s Midnight’s
Children which is a milestone in the postcolonial fiction that reconstructs history in its telling
through its selection of narrator, Salim Sinai. J. David Livingston & Sophia Livingston’s paper
shows how Arundhati Roy highlights the exploitation of dalits and women by the patriarchal
society in her The God of Small Things. The article of Vivekanand Jha throws light on the
objectives of identity and hybridity in Rushdie’s Midnight’s Children. Shilpi Bhattacharya’s
paper deals with the crisis of human values like freedom, love, pursuit of happiness and
enjoyment of beauty in Arundhati Roy’s The God of Small Things. Gulnaz Fatima’s paper on
Aravind Adiga’s The White Tiger presents two aspects of India: dark and bright. The present
paper posits that it does so through its narrator and narrative mode and through its
quintessential postcolonial stance.
Kakali Bhattacharyya’s paper is about how Arundhati Roy critiques in her The God of Small
Things the institutionalized and widely practiced and accepted domination over and
exploitation of women and children by the most powerful elements of the patriarchal society:
the adult males. Maumita Chaudhuri’s paper presents the translation of Rushdie’s Midnight’s
Children from text to film and the changes required along with the various demands of the
practical rendering of words on to the screen. Rajnish Mishra’s paper looks at the relationship
of violence in wars, riots and religion in the Indian subcontinent, as portrayed in The Shadow
Lines and Midnight’s Children. Dalvir Singh Gahlawat’s paper takes it as the point of departure
to comment on the exploitation and “othering” of women in a patriarchal society of an
androcentric world being exposed in Arundhati Roy’s The God of Small Things. Lipsa
Malhotra’s paper is a feminist and subaltern analysis of Arundhati Roy’s The God of Small
Things and shows how women and dalits are exploited and ruined by the upper caste
The paper of Jubimol K.G. is an attempt to show how the Bakhtinian elements of dialogism,
polyphony, heteroglossia, grotesque and carnivalesque enrich Roy’s celebrated the God of
Small Things, and also act functionally in strengthening its critique of the whole social system.
Adiga’s The White Tiger and Bhajwa’s The Sari Shop are the novels taken up in the paper of U.
Gayathri Devi because they have an uncanny similarity in their being centered on the
subaltern and in being able to provide voice to the voiceless and powerless people through
their characters.Shalini Misra’s paper presents a thematic analysis of Adiga’s The White Tiger.
It shows how the novel exposes the contrast between the two India’s of darkness and light.
Deeptangshu Das’s paper is about the multiple narratives of loss that touch the realms of
Nation, History, Ethnicity, Class and Gender in Kiran Desai’s The Inheritance of Loss.
Kavita S. Vansia’s paper is a thorough analysis of the narrative techniques utilised in
Arundhati Roy’s The God of Small Things. Ramesh P. Chavan’s paper is a critical portrayal of
the patriarchy’s exploitation of the untouchables and women in the traditional Indian society
as shown in Roy’s The God of Small Things. Rajnish Mishra’s paper is about Rushdie’s use of
various narrative strategies and traits of genre to make his narration of Midnight’s Children
interesting. Vivekanand Jha’s paper portrays characterization of the judge who is an emblem
of injustice and eccentricity in Kiran Desai’s The Inheritance of Loss.
The Denouement of this comprehensive and exhaustive critical anthology is accomplished by
the inclusion of three interviews which further bolsters the efficacy and effectiveness of the
anthology. We are grateful and indebted to all the three interviewees and the editors of the
magazine in which these interviews were published first for giving us reprinting right. The
interviews, revealing and informative in nature, will be handsomely handful for the students,
researchers and scholars in persuading their respective goals. It is trusted with utter
conviction that this edited anthology of critical and analytical articles will be distinguished
and prominent to the readers and academicians of Indian English literature in hunting their
endeavours and goals.
We utter our deep sense of gratitude and thankfulness to all revered contributors for their
warm and affectionate support in making this anthology an organic whole with its
constituents. However, concurrently, we would like to warm the students, readers, scholars
and literary community against the ongoing plagiarism that we encountered in the course of
editing the articles submitted to us for publication. Though we have made every attempt to
keep away from such transgression and incongruity, yet their utter absence cannot be taken
for granted. Therefore, the individual scholar, not the editors, will be responsible for any
We convey our heart-felt gratitude and appreciation to our well-wishers whose incessant
applaud and admiration enabled us to present this book in present form. Of course all that
have been said right above was not feasible without generous and altruistic support of Mr.
Praveen Mittal, his blessed son Mr. Neeraj Mittal and the all staff of B R Publishing Corporation
for readily accepting our proposal and publishing this book in present form.
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