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Indian Writers and Writers about India: An Introduction for Potential Lovers of a Rich and Colorful Literature

A moment comes, which comes but rarely in history, when we step out from the old to the new, when an age ends, and when the soul of a nation, long suppressed, finds utterance (excerpt from the speech of Jawaharlal Nehru, first prime minister of India, 1947-64, on the eve of the country’s birth, August 14, 1947).

My eyes were first opened to the wealth of literature about India when I saw that “jewel” of British TV series The Jewel in the Crown (Granada, 1984), based on the epic four-volume novel The Raj Quartet (1966−75),byPaul M. Scott. Set mainly against the tumultuous backdrop of the final years of the British Raj, World War II, and the Indian independence movement, it explores a range of political, social, and moral issues of the time through the intricate webs of relations developed between British and Indians, between Hindus and Muslims, between young and old, and between members of Britain’s class system, and through a complex of plots and sub-plots involving a variety of strong, memorable characters.

 Scott (1920−1978) was captivated by India when he served there as a British commissioned officer from 1942 during World War II. His work imbued me with a fascination for India, which in turn led me to native Indian authors such as Rohintin Mistry, Vikram Seth, Salman Rushdie, Sujit Saraf, Vikas Swarup, Jhumpa Lahiri, David Davidar, Manil Suri, and others. What is common to all these writers is a depth of feeling for a country whose history, diversity, cultural richness, and immense problems are reflected with great perception and sensitivity in their fiction. Like Scott, a number of western writers, too, such as Gregory David Roberts, were ensnared by their India experiences and created some excellent works set in India.

 This essay offers a taste of some of the wide array of contemporary fiction about India available in the English language by Indian and other writers, its characteristics, and its dominant motifs. It will also touch on some works by Indian writers centering on places and subjects outside of India.

 Characteristics and Motifs

Perhaps the most outstanding trait of much Indian writing is its combination of humor and pathos. The cruel post-independence realities of such a vast, largely poor, diverse, corrupt, and conflict-ridden country seem to lend themselves to the tragic-comic situations many of them describe. Take, for example, the humble chai walla (street tea seller) in The Peacock Throne, by Sujit Saraf (2007), who suddenly finds himself on the brink of political fame and fortune, an innocent pawn in the cynical manipulations of corrupt petty politicians and businessmen; or the memorable opening line of Manil Suri’s The Death of Vishnu (2001),

“Not wanting to arouse Vishnu in case he hadn’t died yet, Mrs Asrani tiptoed down to the third step above the landing on which he lived, teakettle in hand.”

 his sentence sets the tone for the rest of the story, about an untouchable dying in his “home,” the steps of an apartment block in Bombay, while the dramas of the families living in the building swirl around him.

 The corruption rampant in India is a dominant theme in many novels. In Vikas Swarup’s who-done-it Six Suspects (2008), the venal home minister of one of India’s states (“the Politician”) is one of the suspects in the murder of his own son who, unsurprisingly, was acquitted after murdering a bar girl. Swarup is also the author of Q&A (2005; known also by its film name Slumdog Millionaire), in which a penniless waiter who answers all the questions correctly in the equivalent of “Who Wants to Be a Millionaire?” is thrown into prison, accused of cheating, because of who he is, and because the producers don’t have the million rupees he won to give him. In similar vein, Aravind Adiga demonstrates that crime does pay in modern India in his prize-winning novel The White Tiger (2008). Balram, the protagonist, is a poor, low-caste but bright boy (hence his nickname “The White Tiger”) from a village in “the Darkness,” of rural India, who emerges to “the Light” as a wealthy member of a top caste in India’s urbanized, high-tech society.

Family, tradition, and the inequities of the caste system are themes that run throughout the narrative in all the books outlined above, as well as in much other literature about India. The four disparate characters of different castes and backgrounds in Rohintin Mistry’s very fine A Fine Balance (1995) are thrown together and struggle to survive during the turbulent times from independence to the period of the Emergency Laws under Indira Gandhi in the 1970s. Mistry does not flinch from painting a grim picture of the fate of the poor and the downtrodden in India under Gandhi (such as forced sterilization). One of the most sensitive books on family and family relations in India is his Family Matters (2002), a painful look at a troubled Parsi family, whose problems are compounded when the 79-year-old patriarch is forced to move in with his daughter, son-in-law and children, after becoming bed-ridden.

 Hindu mythology, too, plays an important role in Indian literature. Vishnu, the name of the dying untouchable in the abovementioned book by Suri, is, symbolically, also a god in Hindu mythology, the protector and preserver of the universe, while in the complex and wide-ranging Red Earth and Pouring Rain (1993), Vikram Chandra mixes Hindu myth, Indian history, a typewriting monkey, and life in contemporary America.

 The sheer vastness and diversity of India also seem to demand a long and complex narrative peopled with memorable characters. How else to explain the length of many of these books? It seems as though the authors are willing us to try to understand the growing pains of this colorful, but troubled country.

 The following is the opening line of Vikram Seth’s wonderful A Suitable Boy.

 ”You too will marry a boy I choose”

 An Indian variant of Pride and Prejudice? Not quite, but like Jane Austen’s early nineteenth century novel, A Suitable Boy is an epic Indian take by Vikram Seth (1993) on matchmaking, finding-a-suitable-husband, pride, prejudice – and much more. Set in a fictitious town in early post-independence India, the story revolves around the search for love of 19-year-old Lata and her struggles with her opinionated mother who is intent on finding her a suitable match. In the background, but also discussed in great detail, are India’s own post-colonial political and social struggles: Hindus versus Muslims, land reform, and the empowerment of Muslim women. With its vastness (over 1,4,00 pages; it’s one of the longest books ever written in the English language) and Seth’s inclusion of such a range of subjects, this is one of my favorite books. Those who could read another thousand plus of Seth’s pages will be pleased to know that he is writing a sequel, A Suitable Girl, due out in 2013.

Another epic novel in similar vein, though somewhat more flawed, is David Davidar’s The House of Blue Mangoes (2002) which, unlike most of the others, takes place in the first half of the 20th century. His themes include the Indian’s strong attachment to place, family ties, caste wars – and, as the title suggests, mangoes.

 Also a hefty tome, but in a more modern style than those of Seth, Mistry, and Davidar, is Gregory David Roberts’ Shantaram (2003). Shantaram is the name given to Roberts, a convicted bank robber, in India, to where he fled after breaking out of a prison in Australia. It purportedly tells the real tale of his adventures there: living in a hut in a shanty town and setting up a health clinic for the poor, working for the mafia, being worked over in an Indian jail, and acting in Bollywood. Although a Westerner, while relating his story, he, like the aforementioned Indian writers, succeeds in conveying to the reader the colors, smells, and traditions, as well as the diversity and conflicts of India.

One cannot write a piece on Indian literature without mentioning the renowned Salman Rushdie. Rushdie has been compared to Gabriel Gárcia Márquez in his use of fantasy, myth, and magical realism. The book for which he won his infamy (Iran’s supreme leader Ayatollah Ruhollah Khomenei issued a fatwa – Islamic religious verdict – condemning him to death) was The Satanic Verses (1988). The book is based partly on the life of the Prophet Muhammad, but only a discerning Westerner with knowledge of the Islamic religion would understand what roused the ire of many devout Muslims.

 As an introduction to Rushdie, the reader would be better advised to try one of his more “conventional” (relatively speaking where Rushdie is concerned) novels, such as The Moor’s Last Sigh (1995). The book could be interpreted allegorically. The protagonist “Moor” is misshapen and grows physically at twice the rate of a normal human being (does he represent India?); his origins are hybrid – South Indian Jewish, Spanish Muslim, and Portuguese Christian (perhaps representing the Indian sub-continent?). The book’s poetic title refers to two paintings titled The Moor’s Last Sigh, one painted by Aurora, his mother, the other by one of her former admirers and subsequent nemesis, Vasco Miranda.

If all the above sounds too outrageous, another possibility is the acclaimed Midnight’s Children (1981), which tells the tale of Saleem Sinai, born “at the stroke of midnight” − representing in Jawaharlal Nehru words, the time that independent India itself was born, between August 14-15, 1947. This novel, too, can also be seen as an allegory, combining actual historical events with magical realism. Saleem discovers that all children born at about the time the state came into being were possessed of magical powers, and he uses his own such powers to convene a Midnight’s Children’s Conference. Like all great novels about India, the country’s immense problems as it declares independence are intertwined inextricably with the narrative: prominently among them, the resultant Partition, and acute political, cultural, religious, and linguistic differences.

Novels Set outside India

Some novels by Indian writers are set in other countries. Most of those that feature Indian characters highlight the cultural gap between Western and Indian values. Lima, the heroine in Anjali Banerjee’s comic novel Imaginary Men, for instance, is a professional matchmaker in San Francisco, but is forced to develop a strategy to avoid the traditional matchmaking efforts of her aunt from Kolkata, who is horrified that she is still unmarried.

The excellent short stories in Unaccustomed Earth (2008), by Indian American writer Jhumpa Lahiri, underline the cultural conflicts and differences between first-, and second- and third-generation Indian immigrants, as the younger family members struggle to break away from their parents’ close traditional community lives and assimilate into Western society. Lahiri is also the author of the prize-winning short-story collection Interpreter of Maladies (1999) and the novel The Namesake (2003), both of which, in addition to cultural differences, address sensitive issues such as marital difficulties and miscarriage.

Another novel by Vikram Seth who is also a librettist, focuses neither on India nor on Indians but on music. An Equal Music (1999), which was hailed by music critics for its musical accuracy, centers on the affair between Michael, a professional violist, and Julia, a pianist. Julia’s approaching deafness and the affair itself affect their respective careers.

 The multitalented Seth also wrote a biography/memoir, Two Lives (2005): the astonishing story of the marriage of his Indian great-uncle to a German Holocaust refugee, who met in Berlin in the early 1930s when the former was a student. This complex work, covering almost a century, also includes many autobiographic details.

Amitav Ghosh is an Indian-Bengali writer living in the U.S. Although his books center mostly on post-colonial India, his interest also extends to other countries in the East, such as Burma and Malaya, as well as to Egypt. His sweeping historical fiction The Glass Palace (2000) is set largely in Burma, beginning in late nineteenth century Mandalay, but it also visits India, to where the exiled Burmese king is exiled, as well as Malaya. For those tempted to step outside India to learn about another Eastern country, Ghosh offers plenty of historical and cultural information, as well as romance.

Afterword

I would like to conclude with a caution, encapsulated in a quote from Michael Wood (London Review of Books, http://www.guardian.co.uk/books/ 2001/ apr/12/ londonreviewofbooks/print) − which should be borne in mind when reading this survey, as well as English-language novels about India, in general:

“Some 5 per cent of the [Indian] population can read English… Readers and writers of English are thus a tiny minority… The privilege and the proportion [of this minority] exclude so much of what is there… that I’m not sure where this leaves non-Indian readers of Indian English fiction, except with a huge reminder of everything we don’t know and perhaps can’t know. We should remember, too, that much Indian fiction in English is written for readers abroad, or indeed written abroad.”

Authors and books mentioned in this essay

Aravind Adiga, The White Tiger (2008)

Anjali Banerjee, Imaginary Men (2005)

Vikram Chandra, Red Earth and Pouring Rain (1993)

David Davidar, The House of Blue Mangoes (2002)

Amitav Ghosh, The Glass Palace (2000)

Jhumpa Lahiri, Interpreter of Maladies (1999)

                        The Namesake (2003)

                        Unaccustomed Earth (2008)

Rohintin Mistry, A Fine Balance (1995)

                         Family Matters (2002)

Gregory David Roberts, Shantaram (2003)

Salman Rushdie, Midnight’s Children (1981)

 The Satanic Verses (1988)

 The Moor’s Last Sigh (1995)

Sujit Saraf, The Peacock Throne (2007)

Paul M. Scott, The Raj Quartet

                        1. The Jewel in the Crown (1966)

                        2. The Day of the Scorpion (1968)

                        3. The Towers of Silence (1971)

                        4. A Division of the Spoils (1975)

Vikram Seth, A Suitable Boy (1993)

                        An Equal Music (1999)

                        Two Lives (2005)

Manil Suri,        The Death of Vishnu (2001)

Vikas Swarup, Q&A (2005)

Six Suspects (2008)

 

Others worth reading (some of older vintage)

E.M. Forster, A Passage to India (1924)

Ruth Prawer Jhabvala, Heat and Dust (1975)

M.M. Kaye, The Far Pavilions (1978)

John Masters, Bhowani Junction (1954)

Ian McDonald, River of Gods (2004; unusual in that it is science fiction, set in India in 2047)

V.S. Naipul (1932- ), Trinidadian-British writer who has written various works about India

R.K. Narayan (1906-2001), various works

Arundhati Roy, The God of Small Things (1996)

Indu Sundaresan, The Splendor of Silence (2006)

Paul M. Scott, The Alien Sky (or: Six Days in Marapore, 1953)

 

 

 

 

 

 

About the Author

I am a graduate in Far Eastern Studies from the Australian National University. Currently, I work as an academic editor. Some of my essays are collected at http://beryl-pieces-asia.blogspot.com/.

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Indian Dancing Vintage Kids Light T-Shirt by CafePress $15 Dancing Indian, Indian, Indians, dancing Indians, historic dancing Indian, historic, vintage dancing Indian, wild west dancing Indian. Get in step with a dancing Indian t-shirt, gifts t shirts. Vintage Kids Light T-Shirt Tee, TShirt, Shirt The youth-sized version of our popular adult favorite. It’s preshrunk and durable – just what a playful, active kid needs.6.1 oz. 100% cotton. Runs large, size down for better fit..

WHITE MANS INDIAN (VINTAGE) $1 No Synopsis Available

Indian Maiden Vintage Dark T-Shirt by CafePress $26 From a vintage Indian Maiden art print. Vintage Dark T-Shirt Tee, TShirt, Shirt Don’t waste time deciding on which shirt to put on each morning. This dark shirt t-shirt will never go out of style and hides stains better too. This high-quality t-shirt is pre-shrunk and 100% cotton, which makes it both comfortable and durable.

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Vintage Oklahoma Indian Vintage Long Sleeve T-Shirt by CafePress $32.5 Cherokee, Chickasaw, Choctaw, Creek, or Seminole, this vintage Oklahoma t-shirt fits the bill. This faded Native American design looks great whether you are an Oklahoma Indian or not. Vintage Long Sleeve T-Shirt Tee, TShirt, Shirt The most comfortable t-shirt ever Our 100% cotton, Hanes Beefy-T is preshrunk, durable and guaranteed. 6.1 oz. 100% luxuriously soft ring spun cotton . Standard fit. Ribbed sleeve cuffs.

Red Cloud Indian Chief Front Vintage Kids Hoodie by CafePress $26 Red Cloud Indian Chief for vintage, retro old west artwork. Nostalgia Red Cloud Indian Chief cigar label. Get the Red Cloud Indian Chief art. Old West Western memories. Vintage Kids Hoodie Stay warm while lookinrsquo; casual-cool in this kid version of an adult favorite – our ash grey Hanes Pullover Hooded Sweatshirt. Deep front pocket and hood for extra protection against getting slammed by bad weather. Made of cotton/polyester blend that

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Red Cloud Indian Chief Front Vintage White T-Shirt by CafePress $22 Red Cloud Indian Chief for vintage, retro old west artwork. Nostalgia Red Cloud Indian Chief cigar label. Get the Red Cloud Indian Chief art. Old West Western memories. Vintage White T-Shirt Tee, TShirt, Shirt The white t-shirt is a timeless classic for a reason; it should be a staple in every wardrobe. It is clean, simple, and durable. The best part is you can wear it with anything. This 100% cotton T-shirt is so comfortable you’ll want to wear it to bed.

Indian Motorcycles Vintage Mug by CafePress $15 The perfect size for your favorite morning beverage or late night brew. Large, easy-grip handle. Treat yourself or give as a gift to someone special. Measures 3.75 tall, 3 diameterDishwasher and microwave safe Vintage Mug The perfect size for your favorite morning beverage or late night brew. Large, easy-grip handle. Treat yourself or give as a gift to someone special. Measures 3.75 tall, 3 diameter. Dishwasher and microwave safe.