His narration is so serious and natural that he is able to produce a magical terrain where everything is possible and believable. This is the main reason why the stories of “Strange Pilgrims” attract, convince and seduce the readers. With his capacity to blur the distinction between the real and surreal, he recounts the stories in ways that so enchant the readers that they willingly suspend their disbelief and accept that magical things really do happen. The paper proposes to make a detailed critique on how in “Strange Pilgrims” Marquez, with his captivating narrative style, examines the ordinary events and details of the exiled Latin American characters combining realistic, everyday details with the elements of fantasy, folk legends and stories of magic. Key Words:
This new stage in the history of the novel, which began early in the sixties, is deeply connected with the peculiarities of the postmodernist literature. The works of Carter and Rushdie are traditionally regarded as examples of "magic" realism and therefore are also characterized by the postmodern nature of the narrative, in which the process of rewriting history is one of the utmost importances. Salman Rushdie juxtaposes his own view of India and post colonial discourse to the imperial view of history through magic realism or more precisely, through Saleem’s appearance, personal history and telepathy. Moreover, only a combination of two worlds and a mix of historical events, which is possible through techniques of magic realism provided an opportunity to raise issues of identity and hybridity and “provide a positive and liberating response to the codes of imperial history and its legacy of fragmentation and discontinuity” (Slemon 21).While Rushdie takes the perspective of the oppressed colonies, Angela Carter’s “ex- centric” view of reality was focused on the mistreated women. The use of magic realism, to Kristian Padley, provides to many writers a way in which “patriarchal tenacity could be circumvented.
The modern mind, so minutely self scrutinizing, if it is to be effected at all by the sense of the supernatural, needs to be more finely touched than is possible in the older romantic presentment of it. It is this finer, more delicately marvelous supernaturalism, fruit of his own more delicate psychology that Coleridge infuses into romantic adventure, it also is anew or reviving thing in English literature, and with fines of wearied effect in the” Ancient Mariner” unknown in those older, more simple romantic legends and
That 's usually difficult for an author to pull off convincingly, but here it is flawlessly done. Particularly effective is when Kim and other characters switch from translated Hindi, fluent and full of thees and thous, to transliterated English that comes out like "Oah, I am verr-ee sorr-ee, Sahib," and can 't help but be read with the author 's intended diction and cadence. The picture which Kipling paints of India under British rule in the late 19th century is evident. Kipling deals with India in all of its bewildering diversity; the various religious communities, the cities and the rural areas, the plains and the mountains, the influence of the British on India and of India on the British. The other aspect of Kim which will remain is Kipling 's treatment of the theme of identity.
“I know about whom I was writing; but for whom was I writing?” asks Ngugi Wa Thiang’O fictional in this case – in the context of post-colonial pluralism of cultures. This is the paradox: knowledge of one’s milieu or rather increasing awareness of one’s indigeneity as the controlling centre of one’s creativity juxtaposed with heterogeneous diaspora of its critical reception. The criteria range from using the generic roots of the novel as Western specific through its Euro-American variations to the aesthetic hinterland of narrative imbedded in the culture of former colonies. Every great work of art is a perfect unity of words and images. Just as a poet is brought up to speak and write one particular language, he is also brought up in one particular religion of culture.
For this and other reasons, the novel is comprehensively viewed as a stylistic tour de force. Rushdie introduces fantastic and ludicrously incongruous events in socially realistic settings, a technique known as “magic realism”. Rushdie’s use of magic realism and his fervent prose, which features general use of symbolism and exaggeration, led numerous critics to consider his style with that of Gabriel Garcia Marquez. Critics also impressed with the diverse description perspectives employed by Rushdie to broaden the scope of Midnight’s Children. Several critics have located Rushdie amid the immense chronicles of India’s political, social, and cultural
Kipling 's ballad advises us that the great sort of relativism was initially just a method for lecturing resistance of others—the Other. But, Edward Said needs us to trust that Kipling 's perspectives of Orientals in Kim are "cliché," that Kipling considers all Indians as second rate, and that he sets a pilgrim partition that couldn 't be bridged.  Said gets a great part of the import and tenor of Kipling 's novel straight off-base. Said additionally has the chafing propensity for
the novel Shameela by Henry Fielding (1742), which was a parody of the gloomy epistolary novel Pamela, or Virtue Rewarded (1740) by Samuel Richardson. Metatextuality: when a text takes up a relation of commentary to another text it unites a given text to another which it speaks without necessarily citing it, in fact sometimes even without naming it. Literary criticism occupies a vital part in popularizing the particular text. Robert Heitman’s The Great Stage is metatextuality to King
Narrative Techniques in Vikram Chandra’s Fiction Abstract The purpose of this paper is to account for the Indian English fiction. The main focus will be placed on the narrative techniques in Vikram Chandra’s Fiction, who lives between Bombay and Washington. He is a real master when it comes to fictionalized oral storytelling, echoing the traditional Indian epics- the Ramayana and the Mahabharata. It is no wonder, then, that Chandra would define himself as a storyteller. The generic shaping of a text tends to voice the ontological conception of literature that an author has, as it is the case with Chandra’s transcultural narrative.
Negotiating cultural boundaries in Raja Rao’s Kanthapura The examination and investigation of the connections and divergences of the writings of distinctive people groups of the world Weltliteratur was a term instituted by Goethe which was of all countries and people groups, and which, by a corresponding trade of thoughts, intervenes in the middle of countries and serves to enhance the soul of man. Savant writer Raja Rao has been termed as the most splendid expert of Indian writing in English. At the point when Raja Rao 's first novel Kanthapura was distributed in 1938, the "significant effortlessness of a classic"(Kantak 188) softened new grounds up the historical backdrop of Indian English composing, offering a magnificent ideal model of the amalgamation of the culturally diverse experience. It was through this novel that Indian English writing had built its accreditations everywhere throughout the world, which at that time of time had some sharp misnomers concerning the effect of multiculturality. Notwithstanding which position one tackles any of these issues, the way of the methodology of understanding gets to be integral to arranging social limits of the changing scene that is South Asia.