Midnight's Children
From Wikipedia, the free encyclopedia
Categories: Novels by Salman Rushdie | Booker Prize winners (books) | 1980 novels | British novels | Indian novels | Postcolonial literature | Postmodern literature | Magic realism novels | Roman à clef novels
Midnight's Children is a 1981 novel by Salman Rushdie. It centres on the author's native India and was acclaimed as a major milestone in postcolonial literature. It won both the 1981 Booker Prize and the James Tait Black Memorial Prize for the same year. The book was later awarded the 'Booker of Bookers' Prize in 1993 as the best novel to be awarded the Booker Prize in its first 25 years. Midnight's Children is also the only Indian novel on Time magazine's list of the 100 best English-language novels since its founding in 1923.[1]
Plot introductionMidnight's Children is a loose allegory for events in India both before and, primarily, after the independence and partition of India, which took place at midnight on 15 August 1947. The protagonist and narrator of the story is Saleem Sinai, a telepath with a nasal defect, who is born at the exact moment that India becomes independent. Saleem Sinai's life then parallels the changing fortunes of the country after independence. Characters in "Midnight's Children"
Major themesThe technique of magical realism finds liberal expression throughout the novel and is crucial to constructing the parallel to the country's history. It has thus been compared to One Hundred Years of Solitude by Gabriel García Márquez. The narrative framework of Midnight's Children consists of a tale -- comprising his life story -- which Saleem Sinai recounts orally to his wife-to-be Padma. This self-referential narrative (within a single paragraph Saleem refers to himself in the first person: 'And I, wishing upon myself the curse of Nadir Khan. ...'; ' "I tell you," Saleem cried, "it is true. ..."') recalls indigenous Indian culture, particularly the similarly orally recounted Arabian Nights. The events in Rushdie's text also parallel the magical nature of the narratives recounted in the Arabian Nights (consider the attempt to electrocute Saleem at the latrine (p.353), or his journey in the 'basket of invisibility' (p.383)).[2] The novel is also an expression of the author's own childhood, his affection for the city of Bombay (now Mumbai) in those times, and the tumultuous variety of the Indian subcontinent. Recognised for its remarkably flexible and innovative use of the English language, with a liberal mix of native Indian languages, this novel represents a departure from conventional Indian English writing. Compressing Indian cultural history, "Once upon a time," Saleem muses, "there were Radha and Krishna, and Rama and Sita, and Laila and Majnun; also (because we are not unaffected by the West) Romeo and Juliet, and Spencer Tracy and Katharine Hepburn" (259), Midnight's Children chronological entwines characters from India's cultural history with characters from Western culture, and the devices that they signify -- Indian culture, religion and storytelling, Western drama and cinema -- are presented in Rushdie's text with postcolonial Indian history to examine both the effect of these indigenous and non-indigenous cultures on the Indian mind and in the light of Indian independence.[2] The foundations of religious authority are a central concern in the novel. As with Judaism and Protestant Christianity, Islam's authority resides in scripture and rests on the belief that its words come directly from God (Allah). Saleem Sinai, the novel's narrator, seems to want to appropriate some of the Islamic tradition's authority while at the same time questioning its legitimacy. Comparing himself to Muhammad, the vessel through whom the Quran is believed to have been dictated by Allah, Saleem claims to have heard "a headful of gabbling tongues" (p. 185), and, though he was initially perplexed and "struggled, alone, to understand what had happened," he later "saw the shawl of genius fluttering down, like an embroidered butterfly, the mantle of greatness settling upon [his] shoulders" (p. 185). Saleem's use and abuse of scriptural authority, by turns playful, blasphemous, and reverential, points to his (and Rushdie's) desire to unsettle some of the easy dichotomies that individual people as well as entire cultures use to make sense of themselves.[3] Literary significance & criticismFrom its publication in 1981, Midnight’s Children has become a standard work on university syllabuses and has enjoyed an international readership that catapulted its author almost overnight to the very forefront of world authors. It was awarded the 1981 Booker Prize, the English Speaking Union Literary Award, and in 1993 it was awarded both the James Tait Prize and the Booker of Bookers Prize. (This was an award given out by the Booker committee to celebrate the 25th anniversary of the award.) In 2003 the novel was adapted to the stage by the Royal Shakespeare Company.[4] It has been compared in its scope and execution to works such as James Joyce’s Ulysses, Günter Grass’s The Tin Drum and Laurence Sterne’s Tristram Shandy. Like them, Rushdie’s novel presents an encyclopaedic exploration of an entire society through the story of a single person. It is able to do this, in part, by merging with the novel form a number of non-Western texts such as the Sanskrit epics, The Ramayana, The Mahabharata and, most consciously (and not unproblematically) The 1,001 Nights.[4] The novel ran into some controversy for its open criticism of Indira Gandhi, India's then prime minister, and the Emergency that she imposed on the country. See also
Footnotes
ReferencesRushdie, Salman (April 1981). Midnight's Children, 1st ed., London: Jonathan Cape. ISBN 022401823X. External links
| |||||||||||||||||||||||||||||||||||
