Summary Of The Magic Realism In Rukun Among The Elephants By Salman Rushdie

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fantastic, the mysterious, or the marvellous, and subsequently it is not surprising that some critics have chosen to discard the term in general.
In Salman Rushdie’s hands, political satire and caricature easily administer with fairy-tale fights of imagination that merge a fine diaphanous model of restrained allusions, impulse and humour. The magic realism popularized by Salman Rushdie inclined a large number of Indian novels. According to Anita Desai, Rushdie showed English language novelists in India a way to be “postcolonial”. There is an entire cohort of novelists who experience the weight of Rushdie’s influence as enabling their own talents. Quite apart from his distinctive characters, he showed Indians how the English language could be appropriated, bent in any way one wanted, to accomplish a magnificent effect.
Beethoven Among the Cows (1984) by Rukun Advani, Looking Through Glass (1995) by Makarand Paranjape, An Angel in Pyjamas (1996) by Tabish Khair, “Bombay Duck” (1990) by Farukh Dhondy, The Memoir of Elephants (1998), and Asylum, U.S.A (2000) both by Boman Desai are some of the significant Indian novels written in the technique of magic realism.
The first appearance of magic realism in the novel is the character of Tai, or more explicitly, Tai’s allege to being of immense antiquity. Tai obstinately asserts to being so old that he has “watched the mountains being born” and “seen emperors die” (MC.13). The reason why Rushdie had Tai ostensibly reveals impossible

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