Rushdie, Postmodernism & Postcolonialism :: Essays Papers

Rushdie, Postmodernism & PostcolonialismRushdies Midnights Children, published in 1980, was perhaps the seminal textbook in conceiving opinions as to interplay of post-modern and post-colonial theory. The title of the novel evokes to the birth of Saleem Sinai, the novels principal narrator, who is born at midnight August 15th 1947, the precise designation of Indian independence. From this remarkable coincidence we are immediately drawn to the final stage that the novels concerns are of the youthful India, and how some unrivalled born into this new state of the Midnights child, if you will, interacts with this post-colonial state. To restrict the novel as one merely concerned with post-colonial India, and its various machinations, is however a reductive practice. epoch the novel does at various times deal with what it is to be Indian, both(prenominal) pre and post 1947, it is a much more layered and interesting opus of bet. Midnights Childrens popularity is such that it was to be voted 25th in a poll conducted by the Guardian, listing the 100 best books of the last century, and was too to receive the Booker Prize in 1981 and the coveted Booker of Bookers in 1993. http//www.bookerprize.co.uk/ Why Midnights Children is much more than of interest to the reader interested in post-colonialism, is possibly due to its strong elements of magic realism, a literary device that goes hand in hand with postmodernism. Perhaps the most luminary exponent of magic realism in literature is the Colombian motive Gabriel Garcia Marquez, whose One Hundred Years of Solitude written in 1967 came to be seen as the standard bearer for the genre. Marquez was an undoubted influence on Rushdies work and in Midnights Children in particular, which was to adopt many of the surrealist flights of fancy which characterise One Hundred Years of Solitude. The term was first used in a wider post-colonialist context in an essay by Jacques Stephen Alexis, of the Magical naive realism of the Haitians (Alexis 1956), although the term itself had been in circulation since Franz Roh the German art critic coined it in 1925. and the term only became popularised when it was employed to characterise the work of South American writers such as Marquez. More recently the term has come to refer to the inclusion of any mythic material from local written or oral culture used in contemporary narrative. The material is often used to examine the assumptions of Western narrative, which is usually categorised by its rationality and strict linearity.