Dr. Anil Kinger Head, Deptt.

of English Shri P D Malaviya College of Commerce, Rajkot

A Tangible India and the Indian English Novel India as a tangible entity may cause many questions. Is it a geographical land mass? Or, is it a young nation imperfectly grafted on to an ancient civilization? Or, is it the most populous democracy on this earth? Or again, a complex design of peoples and cultures interwoven that creates, in its turn, a new kaleidoscopic design everyday? Or, intangibly though, is it just a matter of mind only as it is still a nation in-making? And much else besides to be questioned?

Every age has its own compulsions, tensions, fears, aspirations and logic and accordingly finds a genre suitable to it. Even a cursory glance at the history of English Literature would approve it. The sensibility conditioned by the industrial progress had altogether different hopes, wishes, fears, anxieties, feelings and emotions, and so it found itself authentically reflected in the novel genre. Industrialization led to the rise of middle classes which found novel as the most suitable literary form for itself. Since the west was the early cradle of industrial revolution so it was but natural that it was the cradle of the novel form, too, which reached far flung countries of the world along with the colonizing west and to an extent explored it as part of their colonial project.

It was with India's unfortunate fall that the novel came to India through western channels though the critics like Bhalchandra Nemade oppose this view.1 During the latter half of the 19th century, the number of western educated people increased because of the spurt in educational activities and establishment of universities in India. Prose writing came into vogue during those days and through English prose only, regional languages of India were cast into prose style. The prose, initially functional, was also used later on as a medium of artistic expression and a class of native writers could even use English prose creatively for their purpose.

Of all forms of literature, novel perhaps, is driven the most by the sense of past in context of the political present. In case of Indian novelists writing in English, it is truer. Even slight glances at the works of pre-independence novelists like our trioR.K. Narayan, Raja Rao, Mulk Raj Anandindicate strong traits of the past in their works. The post-independence scenario, more so, feels uprooted and searches for the base to have strong foothold in the Indian origins. For instance, the expatriate writers like Salman Rushdie, Rohinton Mistry, Vikram Seth, Farrukh Dhondy and M G Vasanjee among others, present a strong case of alienation in their fictional works and whatever they present is the sense of their past with the country.

It was Bengal that led the Indian reception of the novel form and its use for creative endeavours with its writers like Bankim Chandra Chatterjee,

Rabindranath Tagore, Sarat Chandra Chatterjee, Tarashankar Bandyopadhyay, Bibhuti Bhushan, Naini Bhaumik and Manoj Basu among others.2 Writers from

other Indian regions-Nirad Chaudhary, Rajnikant Bardoloi, K.S. Venkatramani, Romesh Chandra Dutt, Sir Jogendra Singh and the famous trio R.K. Narayan, Mulk Raj Anand and Raja Rao, to name only a few - soon joined the league.3 They all engaged themselves in the art of novel writing following the model of English type, for it was easily accessible to us and it was practiced by the master colonisers. With colonial complex in operation the English novel came to be the western novel for us and became the pole guiding novel for our writers though there were the few like Bankim Chandra and Goverdhanram Tripathi who resisted colonial influence in the ways as different as they themselves were.

Novel, primarily, is of the middle class - of man of masses. In that vein, the early Indian fiction in English by Mulk Raj Anand, Raja Rao, Manohar Malgonkar, G.V. Desani and others depict the world which is ruled, not by individuals or kings, but by masses. The heroism in their works " depict the movement of masses and crowds in revolution and war gripped by the savagery of Nature in famine and flood ".4 The masses in these works - identifiable with certain groups, cities, towns, slums or colonies - assume the role of the hero or the protagonist. For instance, in Khushwant Singh's Train to Pakistan Juggat, the protagonist,

becomes a convincing figure only in the background of the village Mano Majra and the community to which he belongs. Vasant Shahane rightly observes in this regard:

Mano Majra is the real protagonist in Train to Pakistan... The individual is important in Khushwant Singh's created cosmos, but not obtrusively because he is part of a vaster and greater reality ....[ and ] the collective destiny of groups and communities dominates the individuals fate.5

Among other works like Tamas by Bhishma Sahani and Adha Gaon by Rahi Masum Raza also tell the stories, not of the individuals, but of masses gripped in the woes caused by the partition of Indian subcontinent. Among the recent works, in Upmany Chatterjee's English, August : An Indian Story, Madna, " a dot in the hinterland " , as the writer called it, emerges as the real protagonist of the novel. All these are either the examples of community literature or literature of places6 in which community or place emerges as the protagonist or hero.

The Indian novel in English thematically preoccupied itself with the subject matters like Indian freedom movement, patriotism, evils of feudalism and the matters of national concern before the Independence; and social reforms afterwards. Mulkraj Anand, a novelist himself, traces the march of the Indian novel in one of his articles. He considers Bankim Chandra Chatterjee's Anand

Matha the first novel on Indian Freedom Movement, and Krishnakanta's Will on the subjects of hierarchy and landlord. Tagore's Gora, according to him, was a novel about national concerns and Ghare Baire, a stream-of-consciousness

novel. After Tagore, Sarat Chandra Chatterjee wrote about lower middle classes and the evils of terrorism. Then there were Tara Shankar Bandyopadyay and Bibhuti Bhushan who wrote about tribals, fisher folk and village life of Bengal. Then, the writers with socialistic concerns emerged on the scene, which included Prem Chand, Anand himself, Shivram Karanth, Yashpal, Amrit Lal Nagar, Phaneshwar Nath Renu, Ismat Chugtai, Krishnan Chander, Rajinder Singh Bedi and Qurrutulain Haider. The voice of women novelists, urging emancipation in forceful terms has also been heard after Independence, particularly in the novels of Kamala Markandya, Kamala Das, Anita Desai, Nayantara Sehgal and Uma Vasudeva.7 However, the Indian novel in English during the recent years especially in 1980s, 90s and after revealed new heights with sudden spurt in creative activities rich in quality and quantity as well. Viney Kirpal observes in this regard:

In this significant decade, a gorgeous collection of several magnificent Indian novels seems to have garnered, almost overnight.... In the 1980s, however, not less than two dozen notable novels have already been produced...8

Amazingly many of these novels have either been awarded or short listed for one prize or the other of international repute. Salman Rushdie's Midnight's Children, which gave new purpose and direction to Indian fiction in English with its publication in 1981, got the Booker prize of the year and subsequently it also won the Booker of Booker. The experimentation and innovation at the levels of language, theme and style in this novel have been consolidated and extended by many other Indian English novelists in their works.

The Indian novelists writing in English, especially of 1980s and 90s, strove hard to overcome the so-called "colonial hangover" and "Raj Syndrome", and the fiction of this period is marked by the experimentation at various levels of language, theme and technique. For instance, The Golden Gate by Vikram Seth explores new avenues of craftsmanship and technical excellence, and Shobha De and Firdaus Kanga experiment with heretofore unexplored and even prohibited themes. Other contemporary writers like Salman Rushdie, Amitav Ghosh, Bharati Mukherjee and Shashi Deshpande, to name only a few, have also captivated the literary scene around the world with their experimental yet gripping creative endeavours of fiction. The mind and milieu projected in the works of these writers are prominently urban and cosmopolitan.

Simultaneously they have added new meanings to their novels in their postmodernist garbs. For instance, a master stroke like that delivered by Rushdies Satanic Verses defamed the whole of community around the world. That of

course, came in the wake of Ayatollah Khomeinis Fatwa to kill the author of Satanic Verses. At the outset, the attempt may look like a petty gimmick of a berserk author, but the deeper we dig; we are likely to stumble upon a graver meaning. Perhaps Rushdies attempt is a ditch at hiding his alienation from his roots. However, this may not be the conclusive aspect of the whole novel. The works of other authors writing in English, especially minority writers, have striven to hard to lend voice to similar feelings occurring out of similar angst. In fact their rootless ness or their so called minority status and threats related to it are vociferated in the expatriate writers like Rohinton Mistry, Meenaxi Mukherjee, Sulman Rushdie and Farrukh Dhondy and native writers like I. Allan Sealy, Firdaus Kanga, Esther David and Keki Daruwala among others.

With the intentions of perennial rule over the Indian sub-continents colonies, British had indigenous plans. One of them, as our histories state and, though it did not see its hay-day, was their game-plan to divide and rule. However, the idea succeeded at the cost of their reign. The Indian subject was almost perennially divided among the majorities and minorities. Almost 200 years British rule over India has taught many worthy lessons to the people of this country and has given many scars to the face of Indian history as well. And the culmination was the holocaust tragedy of a country divided into two. A country was transformed into a sub-continent. And today the scenario that persists is of the grave concern to the statesmen and of the petty gimmicks for politicians.

There is no dearth of examples of the latter aspect, and the former also found its reflection in various manners. The most worried were the artists of the different genres. Literature vociferated the pangs of the division among castes and countries. In fiction, especially, Bhishma Sahanis Tamas, Rahi Masum Razas Aadha Gaon, Khushwant Singhs Train to Pakistan and Sadat Hasan Mantos various works, among others, adequately tell the stories to this effect. Such fiction spoke of the dissection of the country. What followed were the hushed voices, within the country, of the minorities. Since the independence and the inception of our own Republic sovereignty, perhaps, the most discussed issue has been that of minorities and the related ones. The ruling parties have been accused of appeasing one or the other community according to their respective design.

The novels as surveyed above try to answer the questions of Indian identity in myriad ways. The age, in which they are written are invariably reflected with undoubted deliberations on the aspects of India. For instance, writers of preindependence days had a different set of themes and projections to make. Whereas, the post-independence writers defy all canons and masters to be imitated by the would be authors of novel. However, the country, which emerges from these works is quintessentially a tangible, touchable, perceptible, discernible and unmistakably India, with all its follies and foibles, virtues and wisdom intact and as represented by their respective authors.

Notes and References: 1 According to him novel is not an entirely English form. Its origin too, is not English. He goes on to note that the Panchtantra Fables were transformed while migrating from India to Iran and then through Baghdad and Constantinople to all of Europe. So that novel as a literary form is not entirely new in India though as a literary from it came to India from our contact with the English. (Bhalchandra Nemade, Marathi Novels from 1950 to 1975, Setu, Vol. II No. 1, 1986 p. 29 - 64.

K. R. S. Iyenger, Indian Writing in English, (New Delhi : Sterling Publishers, 1993)p. 318.

Ibid., p. 322.

H.M. Williams, The Doomed Hero, Three Contemporary Novelists, ed. R.K. Dhavan (New Delhi:Classical Publishing Company, 1985)p 98.

Vasant A. Shahane, " The Novel as Realistic Epic : Train to Pakistan," Three Contemporary Novelists, ed. R.K. Dhavan (New Delhi : Classical publishing Company, 1985) p. 94.

A comprehensive study of poetry undertaken by Prof. Michael Alexander in his article " Poetry and Place " observes that Literature of places is as old a phenomenon as literature of Nature. He has quoted examples of such poetry not only from the 19th and 20th century poetry but also from the poetry of ancient and medieval literature. (Literature Matters,Issue No.13, British Council, May, 1993)

Mulk Raj Anand, " The March of the Indian Novel, " Sunday Times of India 1, May 1994 : p. 10.

Viney Kirpal, Introduction, The New Indian Novel in English : A Study of the 1980s, (New Delhi : Allied,1990)p. XIII - IV.