Professional Documents
Culture Documents
CHAPTER 1
INTRODUCTION
The social novelist is an eye-opener who points to the substratum of decayed social
reality that exists beneath the meretricious social beauty. The social novel emphasizes
the influence of social, political, and economic conditions on characters and events; often
it also embodies an implicit or explicit thesis recommending social reform. Art should be
defined as a social process clothed in beauty in order to be appealing. The novels of the
nineteenth century served the sociological purpose but did not have the vigour to satirise
the society.
Shashi Tharoor is a penetrating social satirist gifted with an eagle-eyed vision and
ability to bring to the fore all the unnoticed and invisible social malaise. He is an
amalgamation of Jonathan Swift, Rabelais, and Voltaire and Charles Dickens. His
writings coruscate with witty, sportive, verbal, fantastic, light, and joyous elements.
Sarcasm is allied to irony; in fact it can be regarded as a form of irony where the ironical
intention and content are indubitably made clear. Derivatively sarcasm is a scathing or
biting speech. Tharoor‟s commanding position in the field of Indian English Literature
owes to a combination of personal and literary qualities. Qualities of the first kind are
those of passion, humour, honesty, courage, intelligence, and the presence of strong
inventiveness, and stylistic and rhetorical skill. He is appreciated for his art of using
Tharoor‟s characters have deeper connections with the social world and are more
susceptible to its corruption. The Upanishads, the Scriptures, the Ramayana, and the
Mahabharatha offer guidance to Tharoor. He can capture the tone of illiterate Indians,
innocent social activists, humbug cine-stars, fradulant British rulers etcetera with
instrument, capable of affording a variety of harmonies. One of the satiric devices most
frequently used by Tharoor is „insinuation‟- that is, implying a fact without stating it in
so many words. Satire may be personal or general. Each has its own merits and demerits
or drawbacks. General satire is more palatable and therefore more easily acceptable.
Jonathan Swift tells why general satire becomes so popular: “Satire is a sort of glass
wherein beholders do generally discover everybody‟s face but their own; which is the
chief reason for that kind reception it meets within the world, and, that so very few are
Satire and irony are considered the most effective weapons to understand a society.
Irony, satire, derision, sarcasm, and caustic wit are employed in a work of art to attack
the human vices and follies. Tharoor admits that he writes for Indians. In an interview
with Rajeev Srinivasan, he discloses, “… I seem to have struck a chord with Indians both
in India and amongst those settled abroad. I am always pleasantly surprised at the
amount of interest in India such people have, but those who grew up there, and those
who grew up abroad. Of course, there is also a smaller audience of non-Indians who are
interested in India, too” (n.pag.). History is a kind of sacred writing because truth is
essential to it. Truth is divine in nature. For Tharoor truth, history, and god are one and
the same. Tharoor blends history, truth and god together. He says, “I am a student of
about the various ways that history can be told and recorded” (qtd.in Merivitla 89).
Tharoor‟s three novels – The Great Indian Novel, Show Business, and Riot are
classics. Like Charles Dickens, Tharoor wants to promote social well being. It would not
be an exaggeration to say that the spirit of both is inspired, kindred, and satiric. The
Great Indian Novel has evoked wide response resulting in an elaborate study from
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taxonomist calls it meta-fiction. The literary critic calls it a satire. The anthropologist
looks at it as nyth and history. It is a treasure house for the researchers interested in post-
colonial literature. Deccan Herald, Hyderabad comments that The Great Indian Novel is
a true mirror of contemporary Indian polity. The Toronto Star, Canada showers
encomium on the novel thus: “Tharoor‟s novel, like Swift‟s Gulliver’s Travels, succeeds
plane, it pokes fun at the ambitions and foibles of presumably fictitious politicians. But
… the analogies are devastating” (Kamleswar n.pag.). John Calvin Batchelor considers
Voinovich, Fuentes and our own Coover” (n.pag). It is a post-modern political satire in a
mythical design. Show Business is his second novel written on celluloid which received a
front- page accolade in the New York Times Book review as: “Exuberant and clever …
both affectionately and fiercely done” (n.pag). It has been made into a motion picture,
Bombay‟s film industry … raised to a new and more universal pitch by showing what is
common between films and politics” (qtd. in Sharma 2). Riot is a searing examination of
“Extremely readable, humane and perceptive, with the urgency of contemporary history”
(qtd. in Riot n.pag.). Elie Wiesel opines that this novel is written with elegance and
sensitivity. He says, “Riot is a remarkable tale about violence and hope in a land that has
known both …” The Washington Post acclaims it as, “ … Riot is not just a splendidly
Regarding his service to the humanity in general and the Indians in particular, Tharror
admits, “I am not a politician, but I see politics as a means to an end – the end being to
influence the policies that determine the well-being of our people. I want to make a
difference, and I believe I can” (Srinivasan n.pag). He also says that he will be a strong
advocate for the defence of India‟s pluralist and secular democracy and also be an
advocate of the poor in the society. But TP Sreenivasan argues that Tharoor‟s foray into
public life might not have been a sudden decision as a peep into his writings suggests
that the Congress MP was apparently preparing for a political career right from his Ph.D
days. He adds further, “A review of Tharoor‟s writings, beginning with his doctoral
thesis on Indian foreign policy, submitted to the Fletcher School (at US‟ Tufts
University), to his novels, like the monumental „The Great Indian Novel’, „Show
Business’ and „Riot‟ will reveal that he deliberately stayed close to Indian history and
Indian landscapes as though he was preparing for a political career in India” (n.pag).
Tharoor‟s use of the medium of novel to exhibit his genuine concern for the society is
owing to the fact that novel is a camouflaging art of blending fiction with facts in a novel
manner. Lionel Trilling considers the novel “the most effective agent of the moral
imagination” (215) in one‟s period. Of the various genres of literary art, novel is
regarded as the most popular, accessible, democratic and effective medium for
embodying and recreating the complex and varied experiences of mankind. A novel
should establish its relationship with its readers and reflect the spirit of the age that
shapes the artist‟s sensibility and prompts his vision. Most novels are concerned with
ordinary people and their problems in the societies in which they find themselves. “For
me, the value of the novel as a form is that it is able to incorporate elements of every
David Daiches in his fascinating study on the evolution of the English novel from
Richardson to Jane Austen makes a prophetic statement that the English novel is
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“destined to become the most popular and prolific of all English literary forms” (700).
Having emerged in the eighteenth century, the novel has had its roots in middle class
ideals and sensibilities and was in a large measure the product of the middle class. The
novels were patterned on imagined events set against a clearly realised social
quarrels, and reconciliation, and gain or loss of money or social status were the
significant themes and the narrative was always episodic. Almost till the beginning of the
twentieth century, this trend continued. Daiches establishes that domestic norms,
were the only concerns of the novelists. There was irony, sarcasm or thinly veiled
part of the society. This was as it should be because the perception of man was only in
Daiches illustrates his theory by examining several novels which analysed the
characters as individuals without studying their impact on the society or the changes that
they should bring about in the society. As the novel was a product of the urban
or criticizing, philosophizing, with a view to change. Richardson was the first novelist
though there were others like Daniel Defoe, John Bunyan and Philip Sidney. Pamela, the
first novel of Samuel Richardson was published in 1740 and it carries a sub-title „Virtue
Rewarded.‟ The sub-titles are used in the novels “to nudge the readers and to
peculiarity of the novels of the eighteenth century was that they told “new stories rather
than recomposing old ones. Their characters were, supposedly, singular; each novel had
to introduce its readers to a new world. This has not changed” (Mullan 9).
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The last half of the twentieth century served as an incubator for the novel to bask in
The novel has blossomed into a literary form as an essential and relevant exposition of
the life of the society. The sociological discourse is not without the psychological
mappings. The political, the scientific, and the futuristic concerns of the society were
also woven into the texture of the novel. It is one of the ironies of the history of the
novel that what was considered as ingenious way of wasting time and stigmatized as
drinking drams in the morning has come to be the key to open the emotional and ethical,
the philosophical and the inspirational concerns of a society that has no time for the
The elements of the novel such as theme, plot, story, characterization, and message
are the discoveries of the critical methods and the inter-disciplinary nature of
interpretation rather than a change in the structure and method of the novel. No work of
art reveals all its secrets to anyone generation, nor does it circumscribe itself to any one
dimension. If poetry is considered a system of norms, the novel also can be considered as
such a system with layers being designated by different appellations. Aristotle who
considered the epic as the highest form of art and the most comprehensive record of
human adventure in both thought and action has been extrapolated when the novel is
termed prose-epic. The relevance of the novel to life came to be exposed when critical
inhibitions were exploded and the novel was more about discourse than about structure,
Early criticism considered the art form for its structure and narratology. Many of them
individual. It is the new approach that has broken out of the shell of aesthetics and ethics
and spread into the humanistic and the societal. The shift in attitude is engendered in the
redefinition of the novel which has abstracted from the micro and implanted on the
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macro. This change is comparable to what Eliot called the cultural. Eliot was able to look
at poetry as a carrier of culture and defined culture itself as „the presentness of the past‟
Sociological studies and the aberrations in social values made the ethical aspects of
the novel dubious. Further, writers like Henry James and James Joyce dichotomized life
and the novel and influenced by the existentialist doctrines said that no critical model can
afford to impose the morals of the society on the morals of the world of novel. Henry
James‟ famous quotation, „Trust the tale, not the teller‟ reoriented interpretive
approaches to the novel. He says, “The true art of fiction is to catch the colour of life
itself” (Nagarajan). In his major novels, Joyce uses three novel techniques: i) the stream
of consciousness, ii) interior monologue, and iii) twisting and distorting of language. His
work is full of wit, puns and startling conceits. His genious is for the comic rather than
The influence of Aristotle on the question of inter-relation between plot and character
has also surfaced in the study of the novel. Though the relative merits will not tilt the
scale to one side, it can be seen that character influencing the plot is more relevant in the
context of the sociological novel rather than otherwise. The discretion exposed the inner
significance of the novel which is synonymous with the significance of the life led by the
characters. If there is a disjuncture between life and literature, exposing the influence of
one on the other and if the narrative is a replica of life without authorial comment that
means the author writes history. If the author comments it exposes his point of view. So
the interpretation of the novel would be subjective but the impersonality of art demands
freedom from both the author and his creations. No man can walk abroad without
treading on his own shadow, said Walter Raleigh. So a novelist cannot create a character
free of his own personality. The narrative technique adopted by the omniscient narrator
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makes the novel anticipatory and overtly moralizing. The characters in different contexts
become a kind of chorus. The progress of the plot is more authorial than artistic.
The theory of logic of novel is undependable because the logic of the narrative is
crowded out by the logic of the narrator. It may also happen that the characters run away
from the creators. The logic of the narrative is a fallacy because the author‟s envisioning
of the end is guided by what he wants it to be and not what the logical end would be. As
it happened in the case of the earlier epics or parables the interpretations became
tendentious, pre-determined and made to order. It is possible to alter the narrative to suit
the readers and their expectations. In the interpretation of the epics, the traditional,
ethical instruction to be drawn is mandated by the tradition. Other possibilities are either
complemented the intrinsic was born. The sociological impact was anticipated and like
the epic the novel too had ethical and moral significance but still had to go beyond.
Criticism or interpretation should not frustrate the genius of the writer. Though it may be
argued that the author stands apart from the novel and its world apart from the real
world, the dividing line is so thin that confusion persists. When the psychological,
sociological and anthropological methods enter the arsenal of the literary critic the novel
has enlarged its scope, implication, appeal and influence. The philosophical bastions of
literary criticism and the influence of humanistic psychology and sociological sciences
have changed once and for all the methodology of literary critic.
While the critical method was developing into psychical and sociological insights,
four elements: theme, plot, story and character. The content is the function of these
systemic elements. Sociological values, flowering as ethics and moral, permeated the
texture of the novel. While the theme is the central note, the plot is the skeleton, the story
is the flesh and blood and the characters are the adornments. The structure detailed above
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is a paradigm and the interpretation is the phenomenon being born out of the paradigm. It
is only the story that incorporates and breeds the symbolic personages to make them men
and women of flesh and blood. The characters are provided with adequate strength to
bear on their shoulders, the plot. The author employs symbols, myths, metaphors, and
similar other literary devices to make the novel communicate at different levels. It can be
seen that from the earliest times the episodic structure of the novel has remained and the
change or the evolution is through the themes and techniques adopted by the author. The
early novels contained plots that were predominant and the characters were secondary.
There is not even a hint regarding the awareness of the ethical or moral dimensions of
the narrative. Not withstanding the various ramifications, the novel remains the same at
the core.
The critical methods, the critical theories, and the inter-disciplinary techniques of the
critics have altered the significance of the novel through the appropriate interpretations.
Thanks to the extrinsic critical method and the polysemic nature of the language, the
novel has arrived at the high point of social relevance. The awareness of the writer
illumines the plot. The literary background creates both the structural and normative
aspects of the novel. The author‟s awareness of the teleology of the novel invests it with
sociological purpose. Successively, the novel has moved from the epistolary to the
picaresque and in the latter the unity is in the name of the characters and a thin stream of
connection between the episodes. The characters are not affected by the episodes. There
is no change in the character from the picaresque to the gothic and the change is as
between the two unconnected realms. The domestic novel which succeeded the gothic
Novels covering several generations become a fashion. The novels are narrative and
not speculative. They do not sport any sociological comment or even an unconscious
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purpose. The examples of such novels are Henry Fielding‟s Tom Jones, Joseph Andrews
and Emilia. John Galsworthy‟s Man of Property also belongs to this category. They are
the milestones in the growth of English novels. These novels are linear and uni-
dimensional. There is not even an inkling of a social purpose or awareness. The next
generation saw the ironical and satirical which were directed against the individuals and
did not attempt to comment or criticize or expose the weaknesses and the eccentricities
of the society. William Thackeray, Jane Austen and a few others exposed the ridiculous
affectations and idiosyncrasies of the middle-class and even the aristocracy. Austen‟s
Pride and Prejudice is comedy of manners and Emma is considered as a social comedy.
Almost at the same time George Eliot wrote her novel Silas Marner bringing in
domestic realism. Patience, pathos, and goodness are unjustly punished but there is no
rectifying note anywhere. Philip Waken in The Mill on the Floss is the earliest symbol of
an invalid individual being granted not just sympathy but recognition, acceptance, and
protection. George Meredith‟s, The Egoist is described as a social satire. The characters
are realistic and each character is a symbol of some virtue or vice. The novel reads like
Dostoevski‟s Crime and Punishment is another step towards the sociological novel
where the parameters of the society inflict pain and punishment psychologically. It is a
reaction to a hypothetical crime finds a parallel in the sociological aspects of the novel.
Poverty and poverty induced prostitution, the crime of the society against the individual
and a class consciousness are dealt with a deep sociological recognition. Similar to
Dostoevsky is Tolstoy‟s Anna Karenina where the sociological concerns are to the fore
criticism. Tolstoy‟s novels are a milestone in the progress of the novel towards the
sociological.
The allegorical novels are trying to preach religious values. Bunyan‟s Pilgrim’s
Progress and Lawrence Sterne‟s Tristram Shandy are typical allegorical novels. Hardy‟s
novels become the medium for communicating man‟s attitude to nature, not with
Wordsworthian optimism but with Hardy‟s pessimism. Humanism which marked the
had practised it. The Egoist is a kind of bridge to cross over to the really sociological
novels of Charles Dickens. His broad human sympathies, his empathy with the oppressed
and orphaned, his zeal for discovering the sunny side of life, and his sincere interest in
the betterment of life are all integrated into the theme and structure of his novels.
Urbanization, capitalism, social and class inequality are the themes in his novels. Child
labour, child abuse, and apathy towards girl child are not the themes exclusively in the
contemporary society. The novel of ideas like those of Huxley, the anthropological as
those of William Golding and the novels of prognostication were all sociological in their
identity. It was about this time that the Indian fiction in English was born and without the
trauma or pangs of birth, the sociological novel was born. The political and the
The novel as sociological discourse marks the Afro-American novels like those of
Tony Morrison. Race and gender concerns, slave oppressions, apartheid, genetic and
of the whites mark the traits of Afro-American novel. The Harlem Renaissance is a
milestone in the evolution of the identity of Blacks and their recognition as citizens of
America. Morrison was made Nobel laureate is an unmistakable acceptance of the fact
that the Blacks are not a different species but an oppressed and discriminated race of
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humanity. The Bluest Eye, Sula and a few other novels of Morrison are powerful in the
sociological discourse. Geographically distant regions which have the social concerns are
captured in her novels. Whether it is satire or irony, the sociological discourse has made
the problems yield themselves to alleviation of the pains of social oppression and
exploitation.
The novelists of the mid-twentieth century were seriously concerned about the
uncertainty of the war and post-war years. The disintegration of society, violence,
sadism, and the lack of positive optimism are the prominent themes of these novelists. A
mixture of realism, cynicism, shrewd comment and satire are used by them to express
their search for basic values. The writings of Virginia Woolf have marked a milestone in
the art of fiction. From being the telling of a story with incidents described in a linear
manner in the omniscient, it grew into a form of narration – often termed „modernist
fiction‟ – which riveted the attention of the reader. The hackneyed method of
mode of narration. Woolf says, “Fiction is like a spider‟s web” (Nagarajan). She reacted
against the novel of social manners as produced by writers like Arnold Bennett. For her,
realities were inward and spiritual rather than outward and material. The elusiveness of
these inner realities is the recurrent theme of her novels. Her characters are seen in
search of these realities. She specialized in the „stream of consciousness‟ technique. This
method enables the novelist to analyse the mental states with accuracy. She says, “Life is
not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-
(Nagarajan). The Indian Novel in English has had a good run and prior to Tharoor there
were others who had been acknowledged for their theme and the problems of Indian
society.
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Indian fiction in English has been the happy hunting ground for the treatment of the
problems of society both during the pre-Independence and post-Independence days. The
Indian novel in English described as twice born amply bears out such an attribute. Indian
literature has had great epics like the Ramayana and the Mahabharata which study the
moral, the ethical, and the regnant principles. The narration is in poetry but the concerns
are the parameters of society that governed the life of the people. It would be argued that
the two are religious epics. The Mahabharata has chapters of unconcealed societal
instruction. Not only in Bhishma‟s instruction to Yudhishtra but also in many chapters
on „Vidura Needhi.‟ In the Ramayana the governance of Ayodhya during Rama‟s exile is
an abject lesson for rulers as much as for the citizens. The sociological import of the two
epics may be disputed but the answer lies in Alexander‟s study of The Iliad. Alexander
was Aristotle‟s student. One day Aristotle assigned homework to Alexander. The teacher
asked the prince to read the Iliad and record his reactions to it. When Alexander came
with his findings Aristotle was shocked. His interpretation totally deviated from the
conventional estimate. Aristotle had expected a literary analysis but Alexander saw the
epic as an excellent military manual. Such is the interpretation of the Ramayana and the
Writing about the Indian novel in English, Dr.K.R.Srinivasa Iyengar observes that the
Indian novel in English is only about a century old. It was only during the middle of the
nineteenth century that the novel occupied literary space in Indian Writing in English.
The earliest novel written in Bengali was published in 1858. It was a domestic plot and a
few subsequent novels which followed it were more antiquarian or historical than
literary. Dr.Iyengar considers Bankim Chandra Chatterjee, the first writer to speak about
the need for the sociological renovation to restore the national self-respect. Rabindranath
Tagore explored the psychological space in his early novels. Sarat Chandra Chatterjee
was another patron writer of the Indian novel. Sarat Chandra Chatterjee integrated
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Bankim Chandra Chatterjee and Rabindranath Tagore. It can be said without the fear of
contradiction that these teething years of the Indian novel provided the bulwark of the
Indian novel. Only when the western breeze blew that Indian Writing in English
blossomed into a new genre typical of Indian soil but nurtured by the English model. The
freedom struggle and the years following independence showcased the Indian milieu
though American and European influences and a few oriental models dictated the theme
and the structure of the Indian novel. The sociological interests in the novels were a later
specifically in the novel was the mid twentieth century phenomenon. Even the English
There are a few earliest „Indo-Anglian‟ novels dealing with the social conditions
during the period of India‟s struggle for independence. Murugan, theTiller and Kandan,
the Patriot are studied as the structural basis of the Indian novel in English but seldom
for their sociological import. Critical studies of these two novels have debated on the
efficacy of the structure and the narrative style. However, the condition of the tiller and
oppression of the patriot are focused upon the socio-economic sides that socio-political
sides get unconsciously woven into the texture of the two novels. The political turmoil
and the police repression are on the one hand and the economic exploitation of the tiller
covers the entire gamut of the life of the society. K.S.Venkataramani‟s twin novels
though formal in style portray the society of his times. Gandhi‟s appearance on the
There is no direct sociological purpose but indirectly the novels mirror the social
upheavals. Mulk Raj Anand‟s Two Leaves and the Bud and Coolie belong to this
category. Both the novels champion the cause of the underdog without diluting their
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social predicament and the chicanery of the monied class. The metaphor of the two
leaves and the bud is not just one that picturises the bud with the two leaves beneath it
being plucked by the tea picker. People as well as the social tensions and the nipping in
the bud of social aspirations are also implied in it. In the Coolie, the focus shifts to a
different kind of exploitation and a different stratum of the society. The Untouchable is
microcosm whereas the Coolie is a macrocosm which means that the untouchable is a
R.K.Narayan though the foremost among the Indian novelists has no avowed social
purpose. However the novels like The Financial Expert, The Painter of Signs, The
Bachelor of Arts, and the Talkative Man have very clear discourses on sociology.
Though social education has not been directly dealt with, it forms the leit-motif of
several novels of R.K.Narayan. There is difference between the other writers and
R.K.Narayan in the sense that he clothes the serious in the humorous whereas the others
Unlike his predecessors Raja Rao has introduced in addition to the socio-political
concepts, the religio-philosophical spheres. His novels display a rare insight into the
societal there is the cultural milieu. The three famous novels –The Serpent and the Rope,
Kanthapura and The Cat and Shakespeare deal with the three main schools of Vedantic
philosophy of Advaita, Dvaita and Vishistadvaita. The three titles are eloquent
metaphors that suggest the whole range of philosophy implied in those schools of
thought. Religion cannot be separated from the society and so these novels have social
The Serpent and the Rope has an episode which illustrates the cultural and
political philosophy of Satyagraha and Ahimsa. A problem specific to the Indian polity is
that of prohibition of intoxicating drinks. The toddy trade had eroded into the slender
finances of the peasants and the weavers and caused much domestic unrest. One of the
planks of Gandhi‟s social philosophy is prohibition. The problem had drawn the attention
of social reformers and thinkers like Periyar. Rajaji in his “Dikkatra Parvathi” [The
prohibition. The pendulum had always oscillated and quite satirically reached the
In a study of the two novels, Raja Rao indulges in a comparison which brings out the
sociological dimensions of the two novels. “To compare the small with the great (in
terms of quality, that is, not of quantity), if Kanthapura is Raja Rao‟s Ramayana, then
The Serpent and the Rope is his Mahabharata” (Iyengar 397). The „Big Three‟ ruled the
roost till the arrival of the novelists like Bhabani Bhattacharya, Manohar Malgonkar,
Arun Joshi and several other women novelists in the post-Independence period.
effervescent and ebullient society caught in the whirlpool of freedom struggle with the
twin forces of violence and Ahimsa causing an eddy in social life. Bhattacharya is a
Indian English. The Sahitya Akademi Award has underlined this fact. The uncertainties,
the hardships, frustrations, agonies and cruelties and the plight of humanity in general are
captured with rare insight. His first novel is a preamble to his second novel which
unfolds the story of a largely man-made hunger that took a toll of two million innocent
men, women and children. The writer‟s use of condemnatory tone thunders against the
hoarders, profiteers and black marketers. The author‟s focus is on how the social values
The novelist paints the naked horror of it with pitiless precision and cumulative detail.
The war is evil and has made the government blindly fiendish in its operations. “They
had scorched the boats. They had scorched the food. They would scorch the people”
(Iyengar 413). The passing of the „Quit India‟ resolution in August 1942, followed by the
mass arrest of leaders, led to a convulsion without a parallel, and this gave the last
vicious twist to the Bengal tragedy which, of a sudden, burst its tenuous bonds and
enactment, even in the fifties women novelists ventured into portraying the social
inequities. Most important among them are Kamala Markandaya, and Ruth Prawer
the South Indian village where life has apparently not changed for centuries. Modern
industries and modern technologies have invaded the villages in the shape of a tannery,
which is a great threat and may lead sinister consequences. Markandaya writes that fear,
Ruth Prawer Jhabvala is slightly different in the sense that her novels are placed in the
decade between 1955 and 1965. Dr.Iyengar speaks of Jhabvala as the Indo-Anglian.
Anita Desai brings up the rear with her exploration of the “modern Indian sensibility that
is ill at ease among the barbarians and the philistines, the anarchists and the amoralists”
(Iyengar 464). Many other novelists notable among them are Shantha Ramarao,
Shakunthala Shriganesh, Nayantara Sehgal have to be studied to get a total picture of the
There seems to be a time lag between the diagnostic social discourse in the Indian
Fiction in English and the critical and diagnostic attitudes of the later novels. Post
colonialism has its own limitation having cast upon the writers of the period and the fear
of the Raj. Persecution, incarceration, and political ostracism were in the offing for those
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who dare the British Raj. The psychological fear continued. Jawaharlal Nehru in his
memorable lecture and then Gandhi came and capture vividly the all encompassing fear
of the police, law, oppression and so many other fears. Nehru wondered how the Indian
ethos which had always championed the cause of freedom and fearlessness subjected
itself to such impenetrable darkness of fear. It took Gandhi several years before he could
inspire his compatriots to bear their booze out to the British bullet. Moral courage was
the high road. However, after independence the woes of artisans and the travails of
exodus perpetuated policing and intimidation. That was why Indian fiction in English did
not blossom into the satirical mode. The later events, in the name of national integrity
rolled out many measures which threatened the polity with almost dictatorial tendencies.
Tharoor‟s adopting the epic paradigm of the Mahabharata gave him both the strength
and protection to satirise on the Indian polity. The satire is not as carping or critical as
the English satirical novelists because unlike the English satires which did not have a
cultural paradigm, the Indian satirical novelist has satirical observations on the events of
the Mahabharata that could be easily passed on as criticism of the epic while reflecting
on the contemporary political and social situation. The problems in the Mahabharata are
prognostication of the India to be. Tharoor needed but fixing the events against the
episodes of the Mahabharata and parody the national characters in the light of the
Indian fiction in English has earned a good repute in the post-modern literary world.
Authors, critics, readers, researchers, and students have started evincing interest in
knowing the world of literature in broader perspective. The particular field of Indian
fiction in English has witnessed a noticeable readership across the world. It is mostly
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through their imaginative creation that the novelists of Indian Writing in English have
brilliantly presented the current themes of social, cultural, political, economic, and many
more issues related to pre and post Independent India. Novels challenge, in a variety of
ways, the traditional perception of an ordered and coherent world which underpins the
pretensions to reproduce reality in fiction although the very idea of “reality” conflicts
with the term “fiction.” But then, “Truth is stranger than fiction” (Twain n.pag.) and the
function of fiction is to reveal the ultimate reality, that is, the Truth, though this end may
unravelment. Many binary opposites are represented side by side – live experiences and
fantasy, fictional history and contemporaneity go into the making of many novels. If
modernism evinced a desire to escape from a chaotic contemporary history into a more
reassuring past, postmodernism can be said to represent a further step in the literary
movement away from the burden of history. “History itself, with all its modern horrors,
has become too awesome a subject for most modern writers and critics to contemplate.
Silence, fantasy, and myth, science fiction, grotesque comedy, meta-fiction, surrealistic
fiction and fables – these seem to be the only responses possible” (Afzal-Khan 137) to
socio-religious and political handicaps of the latter half of the twentieth century.
India‟s contribution to world literature of the twentieth century has been mostly in the
language than English. Indian novels in English, although a distinctive and notable force
in world fiction, constitute an obviously paradoxical genre. Though that, the creative
expression of a nation is being sought in an alien medium in addition to its own rich
literary heritage, both oral and written, and also a plenitude in regional languages.
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There were only 150 million abjectly poor people in India around 1950. Today about
sixty years later, India has more than 300 million abjectly poor people. India still has the
world‟s largest number of poor people in a single country. Nearly seventy-five percent of
them are in villages. Indian fiction in English has always held a mirror up to Indian
social life and down the decades, it has explored the varied facets of Indian society. The
gruesome poverty, the political crisis, the trauma of partition, religious fanaticism, and
riots, social changes, cultural conflicts, experiences of alienation and anarchy, illiteracy,
child labour, women subjugation, immorality, black money, corruption, evils of dowry,
invasion of foreign economy, power politics, tax evasion – all these have figured on the
pages of the Indian novel in English in general and Shashi Tharoor in particular.
The new fiction of the 1980s presents a virtual mosaic in terms of thematic variety,
differences in taste, perceptions, and presentational styles. The literary scene is renewed
and quickened by the opening up of new possibilities and innovative techniques to give
landscape. The 1980s marked a watershed in the annals of the Indian novel in English for
a variety of reasons. Some promising novelists published their first works which vouch
for their originality and unprecedented inventiveness as also the courage to break free of
The Indian novel in English of the 1980s is different from its precursors both in
technique and sensibility. One of the significant and vital aspects of the contemporary
social life of India is the co-presence of many cultures, a potential challenge for any
The writers of the 1980s, in an attempt to harmonize the conflicting experiences into a
Conflict inherent in the human psyche is mainly owing to the uniqueness of the person,
and it recurs in every area of human activity, be it personal, professional, familial, social,
The new writers have faithfully lived up to this definition in their portrayal of modern
India. The 80s also witnessed Indian novelists and their works acquiring unprecedented
honours and recognition. As Viney Kirpal points out, “If international acclaim is any
measure of literary merit, then it is fascinating to note that almost every second novel of
the 80s has been awarded a prize or has been short listed for it” (Kirpal xiv).
Indian Writing in English has become an independent and outstanding creedal writing
in Common Wealth Literature. The 1980s and 90s saw a renaissance of Indian Writing in
English which has been spearheaded by Salman Rusdie with his path breaking novel
realism in his novels. Vikram Seth is best known for his epic novel, A Suitable Boy. He
is the distinguished winner of the WH Smith Literary Award and the Commonwealth
Writers Prize. An Indian novelist and social activist, Arundhathi Roy rose to fame with
her maiden novel God of Small Things. The commercial success of her novel has
acclaimed Indian author in the global arena. His debut novel Such a Long Journey won
the Commonwealth Writers Prize. His books shed light on the issues that affect the Parsi
and prolific writer. He is the producer of the most lyrical and insightful works on the
effect of colonization on the native people. Upamanyu Chatterjee is best known for his
short stories, and novels like English and August recreate life in Indian family system.
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His wry sense of humour and realistic portrayal of India has given us the witty and
amusing. Jhumpa Lahiri won the Pulitzer Prize for fiction. Her second book The
Namaste was made into a film. She writes about the cultural identity of Indians in a far
off land.Tharoor is a writer with immense calibre in writing social novels in the
postmodern technique.
Author of novels, short stories, scholarly texts, numerous commentaries and editorial
essays, Tharoor has won accolades for his creative style and incisive analysis. In 2001,
the University of Puget Sound, Tacoma, Washington, awarded him a honourary degree
in 1991 and the Rajika Kirpalini young Journalistic Award in 1976. In the United States,
Tharoor has been honoured by the South Asian Journalism Association at Columbia
University and the Network of Indian Professionals, and is presented with an Excelsior
Award for excellence in literature by the association of Indians in America. Most of the
critics and reviewers praise Tharoor‟s works for being historically informative and
politically incisive. Some reviewers have commented that his elaborate allegories about
Indian religion, culture and politics are charmingly executed. Elie Wiesel, a Nobel
Laureate considers Tharoor “as a major voice in Contemporary literature” (Riot blurb).
constituency in Kerala. He is a high-profile diplomat with the UNS and served as the
and as the Minister of State for the Ministry of External Affairs. Chairman of Dubai-
based Afras Ventures and former Under-Secretary-General of the United Nations, Dr.
Shashi Tharoor was the official candidate of India for the succession to UN Secretary-
General Kofi Annan in 2006, and occupied the second position out of seven contenders
in the race. His career began in 1978, when he joined the staff of the United Nations
human rights advocate. He is the son of Chandra and Lila Tharoor and was born in 1956
Nadu and secondary schools in Bombay and Calcutta and earned his bachelor‟s degree in
history from St. Stephen‟s College in New Delhi. He did his postgraduate work in the
United States and got his doctoral degree from the Fletcher School of Law and
communicator and has a lucid style. Politically he seems to be a genuine liberal with an
which layer upon layer of thought and reverie had been inscribed, and yet no succeeding
layer had completely hidden or erased what had been written previously …Though
outwardly there was diversity and infinite variety among our people …” (qtd.in India
127).
Tharoor‟s literary works are classified under three heads: Fiction, Non-fiction and
Illustrated books. His Fictions are The Great Indian Novel (1989), Show Business (1992)
and Riot (2001). The Five Dollar Smile and Other Stories is a short story published
in1990, His Non-fictions are Reasons of State: Political Development and India’s
Foreign Policy (1982), Shadows Across the Playing Field: Sixty Years of India-Pakistan
docunovel 1997).The Elephant, the Tiger and the Cell Phone (2007), Bookless in
Baghdad (2005),Nehru: The Invention of India (2003), and His Illustrated Books are
Kerala; God’s own country (2002) [with artist M.F. Husain], L‟Inde (French) and India
Hindu (2001-2008) The Times of India (2007-2008), presently in the Deccan Chronicle,
previously for Gentleman magazine, the Indian Express, Newsweek International, and
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International Herald Tribune. His Op-Eds and book reviews have appeared in the
Washington Post, the New York Times and the Los Angeles Times, among other papers.
some 80 newspapers around the world. He began writing at the age of six. His first
publication appeared in the “Bharat Jyoti”, the Sunday edition of the “Free Press
Journal,” in Mumbai at the age of ten. His World War II adventure novel Operation
Bellows, inspired by the Biggles books, was serialized in the Junior Statesman starting a
week before his 11th birthday. Each of his books has undergone many re-prints and is a
best-seller in India. In January 1998, Dr. Tharoor was named a “Global Leader of
Tommorow” by the world Economic forum in Devos, Switzerland. His books have been
translated into French, German, Italian, Malayalam, Marathi, Polish, Romanian, Russian
and Spanish. In January 1998, Dr. Tharoor was named a “Global leader of Tomorrow”
by the World Economic Forum in Davos, Switzerland. Tharoor has lectured widely on
Tharoor was a theatre buff and successful actor in his school days. He played Antony
to Mira Nair‟s Cleopatra in a 1974 production of Antony and Cleopatra. In the early
1970‟s at St. Stephen College, he founded the Quiz Club, which is still extant. He also
revived the Woodhouse society, a reading club in the college. He has been an elected
Fellow of the New York Institute for the Humanities and a member of the Advisory
Board of the Indo-American Arts council and also served on the Board of Directors of
Fletcher School of Law and Diplomacy, the Board of trustees of the Aspen Institute, and
various educational causes, including as the Patron of the Modern High School in Dubai.
Being a suave metropolitan, Tharoor explains the history of India and its cultural
traditions, and political conditions through diasporic, post colonial, sojourner and
25
between the experimental reality and his nostalgic memories. „Romanticized utopianism‟
is vividly seen in his writings. Aesthetics is the watch-word in his imaginative literature
as well as journalistic prose. Being a techno-savvy, Tharoor is known for inventing new
ideals and experimenting newer techniques in his works. To a specific question what
unique Indian perspective he has contributed as a writer, Tharoor says, “he draws his
inspiration from the world “novel” itself, which “implies and obligation to do something
new each time” (Riot 135). As such, he adds that he has not only tried to experiment
with the tales he had told, but also with the manner of telling of these tales in his three
novels. Tharoor observes that novels in the traditional way are too easy to write. They
depict a story, in a linear narrative, from start to finish. But he would like to write a novel
in a different way: “…that reads like-like an encyclopedia ... something in which you can
turn to any page and read. It‟s like each bit of reading adds to the sum total of the
Tharoor suggests that a successful novel should contain all the nine emotional
elements. He says, “I‟d have all the classic elements of the novel in it.... the ancient
Sanskrit text on drama, the Natya Shastra, prescribes the nine essential emotional
elements that must go into any work of entertainment: love, hate, joy, sorrow, pity,
disgust, courage, pride, and compassion” (136). His commentaries and editorials are
lyrical, witty, and contain allusions to art, literature, and culture. The dry language of his
academic prose and the familiar language of journalism are supplanted by arabesque and
Novelty is the forte of Tharoor. His India: From Midnight to the Millennium is a
explain India‟s caste, class, and regional idiosyncrasies. Geetha Rajan comments, “It can
26
be read as a bildungsroman that plots the narrator‟s rite of passage, which mirrors the
nation‟s maturity, in which political intrigues and religious intolerance are the dragons to
be stayed” (qtd. in Jaina Sanga 282). Many critics have observed that The Great Indian
Novel is a blatant but masterful copy of the Hindu epic the Mahabharata. No one has
worked at this work from a purely genre perspective. It can be read as an anthology of
short stories that retell the Mahabharata ancient (mythical) and the dynastic battles
between the Pandavas (good) and the Kauravas (evil) framed in rich, historically layered
detail framed as the political battles in Post-Independence India. Considering, The Great
Indian Novel‟s close parallelism with the Mahabharata, Gita Rajan comments, “it is
episodic, fragmentary, lyrical, and didactic, but it cannot be defined as an epic because
the focus on contemporary events limits a large scale historic scope. It is too convoluted
and fractional in plot and style to fit the traditional genre category of a novel” (Jaina
Sanga 284). In this novel he has shown how a combination of British colonization and an
uncritical sense of nationalism have damaged India. Most of the chapters explain how
such a rare combination spawned the nation‟s contemporary political problems. This is
one of the reasons why the episodic structure works because Tharoor is able to move
Tharoor believes firmly on the ambivalence of both politics and history which are the
significant constituents shaping India. It may be the preoccupation of his mind that the
play of politics and the hand of history in determining the fate of Indian society but they
are the recurring traits in his fictions, non-fictions, and interviews. Even though Tharoor
uses history as an alibi with persistent hopefulness in his speech and writing about India,
he is still skeptic about the authenticity of history. In an interview with David Gergen,
regulating stagnation and trying to distribute poverty….The fact is one of the lessons you
learn from history is that history teaches you the wrong lessons” (Gita Rajan qtd. in Jaina
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Sanga 282). Tharoor‟s next significant work Show Business contains as an interesting
portrayal of India‟s film industry. It serves as one of the most popular forms of
entertainment for the millions of the people of the land. The Indian film industry dubbed
“Bollywood” by academics and journalists, has a huge impact on the Indian diaspora all
over the globe. His genre experiments are revealed in the manner in which his novel
moves between monologues and democratic scripts, while still managing to keep the
story line in tact. In Riot, he uses different voices, different stylistic forms for different
fragments of the story. He tells his story through various modes such as diary entries,
Shashi Tharoor‟s novels are written in pristine Queen‟s English with an almost
Wodehousian tongue-in-check manner. His novels are unique in its composition. Unlike
the conventional novels of telling stories, Tharoor has infused scholarly views of writers
like a research work presented in an art form. Tharoor‟s usual tone is playful, and he
enjoys poking fun at literary composition. He has evolved the style best suited for
depicting India. He uses Hinglish very often in his novels, which is evident through the
glossary provided at the end of his texts, and is conventional in his style. He considers
India as his chief source of inspiration. He admits, “I can‟t see myself straying very far
from the path of irreverence even in dealing with very serious subjects.” (qtd. in
Shyamala 44). Tharoor reproduces the kind of English actually used by many in India –
the language used by Ezekiel in his “Very Indian Poem in Indian English.” (Shyamala
42) Tharoor‟s work enjoys a distinction not always shared by other critically acclaimed
novels – it is very readable, and it is the exhuberance of the language which makes it so.
To understand the core of Tharoor‟s fiction, one must comprehend the foundational
sentiments in his rhetoric on India along with his fictional and non-fictional works. Gita
Rajan opines that Tharoor speaks of India in reasoned, cultural tones, and he wants to
persuade his readers, and the inherent value in the idea of “India.” Tharoor is an
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concerned with India and Indians. His breath, thinking, speech, writing, and works are
confined to India. It is revealed in one of his articles in New York Times: “… Read my
books and those of other Indian writers not because we‟re Indian, not necessarily
because you are interested in India, but because they are worth reading in and of
themselves. And, dear reader, whoever you are, if you pick up one of my books, asks not
for whom I write: I write for you” (Geetha Rajan qtd. in Jaina Sanga 285).
Tharoor‟s love for India is projected in one of his characters in Riot which is evident
in the following utterance, and it would become a statement for each and every Indian.
… I love this country. I love it not just because I was born here, as my father and
mother were, as their parents before them were, not just because their graves have
mingled their bones into the soil of the land. I love it because I know it, I have
studied its history, I have traveled its geography, I have breathed its polluted air, I
have written words to its music. India shaped me, my mind, my tastes, my
Complacence, reticence, hesitation, lack of daring, and fear of repression have made
the Indian novelists maintain a low profile. A wait of slightly more than a decade made
the voice of the Indian novelists in English satirical. As in English literature where satire
began with Swift in his Gulliver’s Travels, and Battle of the Books moved through the
poetry of Dryden and Pope and began to dominate from the time of Thackeray and Jane
Austen. In Indian Fiction in English, the evolution from reticence to Renaissance has
given us some valuable writing in the form of satire. Tharoor is a forerunner and has
used both myth and history to a satirical advantage. He is not fighting with faceless
different levels and different themes. Shiela Singam says, “Shashi Tharoor must surely
be the Indian subcontinent‟s foremost master of satire” (1). In subsequent chapters, this
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thesis examines the three novels of Tharoor that expose the ironical, the comical and the
absurd in the Indian quality. Even though he is a born aristocrat, his understanding of
Novel can be defined as a social process. Tharoor‟s novels are a standing example of
the unmistakable discourse. The novel as satire is a great phenomenon because it needed
the freedom of an independent and democratic society to voice eloquently and forcibly,
the process that structured and directed the society. It is against this background that this
thesis has taken up for analysis the contemporary predicament of man in three
dimensions namely the political, the cultural, and the social which are the cornerstones of
the contemporary India. The satire as a literary device is both enjoyable and thought-
stimulating. The satirist may be maligned but is certainly taken seriously. As Dryden
claims, “the true end of satire was the amendment of vices” (Cuddon 777), Tharoor has
A study of Tharoor‟s novels reveals his unbridled enthusiasm on Indians and his
problems chosen, the treatments used, the techniques employed, references and cross
references utilised are horizontally linked and vertically united. Since the works of
Tharoor are a Manuel of life to the leaders as well as to the common man, they are to be
analysed thread bare. Based on this view, the researcher has attempted to analyse the
cause, and course under the title “Contemporary Human Predicament in the Select
Novels of Shashi Tharoor”. The researcher has opted to study on this topic as no detailed
analysis of the writer‟s novels on this aspect has been taken so far. The study makes use
of concepts and ideas from Sociology, Psychology, Post Modernism, Post Colonialism,
The present study is divided into five chapters. The first one is “Introduction” – The
inherent trait of novel as Sociological Discourse which is historical in character the scope
30
and content of the novels from its origin are briefly sketched. The second chapter titled,
“Political Predicament” examines the socio-political satire in The Great Indian Novel.
The third chapter “Cultural Predicament” discloses the exploitation of the celluloid on its
Predicament” unearths the causes of communal riots and other social ills of the people
from his Riot. In the final and concluding chapter the ideas and findings of the previous
chapters are consolidated and projected as a methodology for the future research
aspirants.
The present chapter has analysed the dynamics of the sociological novels in general
and Tharoor‟s place in this genre in particular. Eakambaram, N. and K. Geetha say,
“Today‟s history was the politics of yesterday and today‟s politics the history of
tomorrow” (77). Based on this principle the next chapter analyses the characteristics of
the rulers and finds out their pitfalls. It tries to unearth the various political causes and
courses for the predicament of the people of the 20th century with reference to The Great
Indian Novel.