Talks by Chimamanda Ngozi Adichie

 Talks by Chimamanda Ngozi Adichie

This blog is a part of a thinking activity given by Dilip Barad Sir from The English Department, MKBU, Bhavnagar. Check out Dilip Barad sir's Blog Site (Click Here for more information and knowledge about  works and writers. In this blog I am going to discuss about Talk by Chimamanda Ngozi Adichie. These talks are on 'The Dangers of Single Story', 'We should all be Feminists' and 'Harvard University - Importance of Truth in Post - Truth'. 

Short information about Chimamanda Ngozi Adichie :-

Chimamanda Ngozi Adichie (born 15 September 1977) is a Nigerian writer whose works include novels, short stories and nonfiction. She was described in The Times Literary Supplement as "the most prominent" of a "procession of critically acclaimed young anglophone authors" of Nigerian fiction who are attracting a wider audience, particularly in her second home, the United States. 

Adichie has written several novels, among which Purple Hibiscus (2003), Half of a Yellow Sun (2006), and Americanah (2013), short stories, the book-length essays We Should All Be Feminists (2014) and Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions (2017), and a memoir , Notes on Grief (2021).

In 2008, she was awarded a MacArthur Genius Grant. She was the recipient of the PEN Pinter Prize in 2018. She was recognized as one of the BBC's 100 women of 2021.

In 2002, she was shortlisted for the Caine Prize for African Writing for her short story "You in America", and her story "That Harmattan Morning" was selected as a joint winner of the 2002 BBC World Service Short Story Awards. In 2003, she won the David T. Wong International Short Story Prize 2002/2003 (PEN Center Award).

Video :- 1. 

          'The Dangers of Single Story'

The video revolves around The Danger of a Single Story. The speaker begins by sharing personal details, recounting her childhood, friendships, and life experiences. She identifies as a storyteller who grew up on the campus of a university in Eastern Nigeria. In her early writing, all her characters were white and blue-eyed, living in Nigeria with snowy weather, often portrayed as mostly drunken. She initially believed she was the only black girl in literature. 

Her perspective shifted when she visited Africa, interacted with African people, and read African books. This experience inspired her to write about the things she recognized, breaking away from the single narrative she once held. She now appreciates American books for their ability to open new worlds to her imagination. She acknowledges that reading African literature saved her from the confines of a single story.

She is coming from a middle-class family with a professor father and an administrative mother, she recalls an impactful incident involving a man named Fidy who lacked sufficient food. This made her appreciate the privilege of having food without struggle. She often felt uneasy about her African identity and black colour, perceiving a lack of possibility for Africans as human equals. Before settling in the U.S., she didn't strongly identify herself as an African.

The speaker highlights the importance of power in writing, stating that it goes beyond telling someone else's story; it makes it the definitive story. She introduces the term nikale, signifying superiority, asserting that stories, too, are defined by various principles. 

She quotes a Palestinian poet, Merit Budnitsan, emphasising that "If you want dispossessed people then the simplest way to do it is to tell that story and just start with secondly".

She delves into her past, recounting a happy childhood marred by the deaths of her grandfather, cousin, and friend, and the oppressive military government under which she grew up. Her stories, both negative and overlooked, shaped who she is. She underscores that stories highlight differences rather than similarities, acknowledging their power to dispossess or empower and humanise. Stories, she concludes, can either break or repair the dignity of people.

Video :- 2.

         'We should all be Feminists'

This video is on the topic of "we should all be Feminists'. At the starting she gives her personal information. She starts with recalling one of her best friends' talk,whose name is Okuloma,Who lived on her street and looked after her like a big brother. Okuloma died in the notorious sosoliso plane crash,in Nigeria in December of 2005,seven years ago. His opinion is the most important for her,she always takes his opinion. Okuloma was a person to whom she could argue,laugh and truly talk to. He was a first person to call her a feminist. When Okuloma is 14th years old , one argument is going on in front of me  in Okuloma's house that was like his family is argue on an unknown subject in between Okuloma looked at her and said,"you know, you're a feminist".and then she replies that,"you are a supporter of terrorism".    She doesn't no the meaning of the word 'feminist' and she doesn't want that Okuloma does know that. So, without knowing the meaning she does continue her argument on feminist and then she planned to look for the word feminist in the dictionary when she goes to her home. 

Some years later she wrote a novel,about a man who, among other things, beats his wife and whose story doesn't end very well. During the promotion of her novel,one journalist gives her advise that "people were saying that my novel was feminist". Till now she didn't find out the real meaning of the word feminist. According to her 'feminist' words definition is like this,' feminists are women who are unhappy because they cannot find husband '. So, as per her assumption she decided to call herself ' happy feminist ', and then she read African books and then she study on the topic of feminism and she decided to call herself ' a happy African feminist ', because at some points she was happy African feminist who does not hate men and who likes lip gloss and who wears high heels for herself but not for the men.

She also shares her experiences related to feminism which she felt. First was about her childhood, the school incident that was about to the testor vote of who is being the monitor of the class, she is interested to be a monitor because monitors have a power to write the names of the noisemakers and they can take a stand against bed childrens. As a result the voting is in favour of her or she is at the  top place of voting and at the second place there was a boy,he was a sweet gentle soul and she is full of ambition to do so. But the beliefs of the teachers is that a boy should be the monitor rather than a girl ,so the boy is becomes the monitor rather than she.  

The second incident happened when she was with her friend Louis. It happened when they were at the coffee shop , when she was paying the money to the waiter but the waiter said thanks to my friend rather than me. He is doing that because all the male or the person normally believes that man are made to earn money ,if the money is given by a female then also the money is coming from a man ,so he is behaving like that. 

Third incidents is about the young women who is raped by a gang in the university. At that time the response of man and women are like "yes, rape is wrong ,but what is a girl doing in a room with four boys?". The society always raises questions on the women's character rather than a man's character. 

Fourth was a hotel incident which she faced,that was like, when she entered alone in the hotel the guard stops her and asks her annoying questions.because they believe that a lonely woman with a man  comes in the hotel is only a sex worker, and guard always greets man and they ignore women every time.  So, these are some incidents or personal feelings regarding feminism which she felt .

Video :- 3.

          'Harvard University - Importance of Truth in Post - Truth'. 

This video explores 'the importance of truth in the post-truth era.' The speaker primarily emphasizes the significance of truth, drawing upon examples from her own life, often referencing Harvard University. The narrative begins at a U.S. conference where she, a budding writer, encounters an established writer and faces an awkward moment when asked about the books she claimed to have read. Despite numerous rejections as a woman in the writing field, she perseveres, even though her first novel remains unpublished, a significant setback.

For her, literature is a kind of religion, a source of learning, and she contends that humans, flawed as they are, can embody enduring goodness without needing perfection. Addressing the class of 2018, she encourages courage, urging them not to be silent and to speak the truth. She cites the example of Harvard University, often perceived as a symbol of untouchable intellectual achievement, with societal beliefs attributing success and opportunities solely to a Harvard degree.

Her friend, a Harvard student, shares insights that while Harvard degrees offer access and opportunities, they do not make one invincible. She recounts her own experience shifting from a medical school dream to a writing career, emphasising the importance of truth. She believes that while occasional lies may occur, speaking the truth to oneself and others is crucial for overcoming self-doubt and achieving success.

The lecture concludes with lines from Mary Oliver's poem "Whoever you are no matter how lonely."

Conclusion :-

In conclusion, this video passionately advocates for the universal adoption of feminism, a cause the speaker embraces through personal anecdotes and experiences. The profound influence of her late friend, Okuloma, who identified her as a feminist, serves as a catalyst for her exploration of the term. The speaker confronts societal misconceptions surrounding feminism, humorously recalling her initial assumption that feminists are merely women unable to find husbands. Through compelling narratives, she exposes deeply ingrained gender biases, from childhood ambitions thwarted by societal norms to encounters with prejudiced waiters and victim-blaming in cases of assault.

The speaker's journey of self-discovery and her commitment to being a 'happy African feminist' underscore the transformative power of embracing gender equality. The conclusion echoes a powerful call to challenge societal norms, dismantle biases, and advocate for a world where feminism is not just a label but a shared commitment to justice and equity.

The Curse of the karna

  Everyone, I'm a student of the Department of English,M.K.B.U. This task is a part of the thinking activity which is given by Megha Ma'am. In this task we have to give two questions answers, which are given by ma'am.

Introduction :-

T.P. Kailasam, a luminary in Indian playwrighting, weaves a poignant narrative in "The Curse of Karna," a compelling retelling of the Mahabharata that places the tragic figure of Karna at its centre.

About the Writer :-

Tyagraj Paramasiva Iyer Kailasam (1884–1946), was an Indian playwright and prominent writer in the Kannada literature. Literary criticism in Kannada literature is said to have started for the first time by Kailasam in his works.

A distinguished playwright in the realm of Kannada literature, T.P. Kailasam's works often delve into the complexities of human nature and societal dynamics. "The Curse of Karna" stands as a testament to his ability to breathe new life into timeless epics.

His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha. He was later often revered "the one and only Kailasam for Kannada" .

About the Play :-

"The Curse of Karna" delves into the life of Karna, a key character in the Mahabharata. Karna is known for his tragic fate, being raised by a charioteer despite being a son of Kunti. The play likely explores Karna's struggles, relationships, and the circumstances that lead to his ultimate downfall.

The play likely concludes with Karna's tragic fate, including his death in the Kurukshetra War and the curses associated with his life.

Questions based on this :-

1). Discuss various themes found in 'The Curse of the Karna'.

1. Destiny and Fate :-

Theme: The play deeply explores the theme of destiny and the inexorable forces that shape Karna's life. His birth, upbringing, and the eventual unfolding of events on the battlefield all reflect a preordained path. This theme prompts reflection on the broader philosophical questions of fate versus free will.

2. Loyalty and Betrayal :-

Theme: Loyalty is a central theme as Karna remains steadfast in his allegiance despite facing discrimination and challenges. However, this loyalty also brings about a sense of betrayal, both by those around him and by the societal norms that condemn him. The interplay of loyalty and betrayal adds emotional depth to the narrative.

3. Societal Prejudices :-

Theme: The play likely delves into the societal prejudices that Karna faces due to his low birth. His struggles against discrimination and the limitations imposed by societal norms shed light on the pervasive caste system and class distinctions in ancient Indian society. This theme invites reflection on social injustices and biases.

4. Complexity of Morality :-

Theme: Karna's journey raises complex moral questions. His actions, while rooted in loyalty and a sense of duty, often challenge conventional notions of morality. The play might explore the shades of gray in ethical dilemmas, prompting the audience to question traditional moral frameworks.

5. Tragedy and Sacrifice :-

Theme: Tragedy is inherent in Karna's story, from his tumultuous upbringing to his tragic end on the battlefield. The theme of sacrifice is woven into the narrative as Karna makes personal sacrifices for the sake of loyalty and honor. The play likely explores the emotional toll of such sacrifices.

6. Power of Curses :-

Theme: Curses are integral to the Mahabharata, and Karna is not exempt from their impact. The play may delve into the consequences of curses on Karna's life, illustrating the concept of karma and the inescapable repercussions of one's actions.

In T.P. Kailasam's "The Curse of Karna," these  themes interweave to create a rich tapestry that invites contemplation on the human condition, societal norms, and the intricacies of destiny. The nuanced exploration of Karna's character elevates the play beyond a mere retelling of an epic, turning it into a profound reflection on timeless themes that resonate across cultures and generations.

2). Karna - the voice of Sabaltern.

 Information of the Character :- 'KARNA' 

Karna, a central figure in T.P. Kailasam's play, is born to Kunti, yet circumstances lead to his upbringing as a charioteer's son. This dual identity shapes Karna's character, setting the stage for a life marked by loyalty, tragedy, and societal struggles.

Personality :-

Loyalty and Honor :-

Karna is characterized by unwavering loyalty and a strong sense of honor. Despite facing discrimination due to his low birth, he remains devoted to those he cares about, especially Duryodhana, showcasing a steadfast commitment to principles.

Complex Morality :-

Karna's moral compass is complex. Driven by a sense of duty, his actions challenge conventional notions of right and wrong. His decisions, though rooted in loyalty, often force him to navigate moral gray areas, adding depth to his character.

Tragic Resignation :-

Tragedy is inherent in Karna's life, from his early struggles to his eventual demise in the Kurukshetra War. His character carries a sense of tragic resignation, knowing that his fate is intertwined with forces beyond his control.

Karna's character in "The Curse of Karna" is a complex portrayal of a tragic hero. His unwavering loyalty, moral complexities, and the burden of societal expectations contribute to a character who is both deeply human and intricately entwined in the cosmic forces that govern his fate. Karna's journey becomes a lens through which the play explores themes of loyalty, destiny, and the enduring struggle against societal injustices.

Karna - the voice of Sabaltern :-

The term "subaltern" refers to individuals or groups in society who are marginalized, often socially and politically disenfranchised. In the context of Karna being referred to as the "voice of the subaltern," it suggests that Karna, with his complex background and struggles, can be seen as a representative or symbol of the marginalized or socially disadvantaged.

Karna's story in the Mahabharata, and adaptations like T.P. Kailasam's "The Curse of Karna," indeed portrays a character who faced societal prejudices due to his low birth. Despite being a skilled warrior and having noble qualities, Karna's life is marked by discrimination and challenges. His loyalty to Duryodhana and his tragic fate in the Kurukshetra War make him a poignant figure, embodying the struggles of those marginalized or relegated to the periphery of society.

In this interpretation, Karna's narrative becomes a voice for those whose stories are often overlooked or silenced in mainstream discourse. His character highlights the complexities of societal structures and the consequences of prejudice, making him a symbolic representation of the subaltern voice within the epic narrative.

Conclusion :-

"The Curse of Karna" is a powerful journey into the heart of one of the Mahabharata's most enigmatic characters. Through Kailasam's lens, the age-old epic is revitalized, offering audiences a fresh perspective on the human condition, the inevitability of destiny, and the tragedy that often accompanies loyalty and sacrifice.

In unraveling the layers of Karna's story, T.P. Kailasam invites us to reflect on our own choices, the societal constructs that shape our destinies, and the enduring relevance of ancient epics in understanding the complexities of the human experience.

Laxman by Toru Dutt

 INTRODUCTION :-

Lakshman, a narrative poem, has the traces of Hindu mythology Ramayana by Valmiki.  Lakshmana, son of Dasharath is the hero of this poem; when Ram his elder brother goes for an exile with his beloved wife Sita as per the will of Ayodhya’s king; Lakshman accompany with them as their guard, this shows his loyalty and affection towards his elder brother. 

This poem Lakshman carries the one line story of Sita’s argument with Lakshman in the absence of Ram.  The poem consists of twenty-two stanzas and eight lines for each with alternative rhymes.  It is in ballad form with eight lines, yet standard ballad consists of four lines.  Direct applications of terms from the original Sanskrit text are- “Succour”, “Videhan Queen”. 

Believing the delusive cry of Maricha (a golden deer, magical form of Maricha); Sita urges Lakshman to move from the bower for the rescue of their hero, Ram.  Lakshman is spell bound, because of the order of Ram to be the guard of Sita as they are in the mid of evil surrounded woods.  Understanding the seriousness of the situation, he refuses to obey her words.  At the peak of wrath, Sita utters some allegations against Lakshman and his loyalty towards her and her husband.  Lakshman becomes helpless.  He is stuck between the words of his brother as well as the bitter allegations of Sita.

ABOUT THE POET :-

Toru Dutt ( 4 March 1856 – 30 August 1877) was an Indian Bengali translator and poet from British India, who wrote in English and French. She is among the founding figures of Indo-Anglian literature, alongside Henry Louis Vivian Derozio (1809–1831), Manmohan Ghose (1869–1924), and Sarojini Naidu (1879–1949). She is known for her volumes of poetry in English, Sita, A Sheaf Gleaned in French Fields (1876) and Ancient Ballads and Legends of Hindustan (1882), and for a novel in French, Le Journal de Mademoiselle d'Arvers (1879). Her poems explore themes of loneliness, longing, patriotism and nostalgia. Dutt died at the age of 21 of tuberculosis.

Toru Dutt was a natural linguist. In her short life she became proficient in Bengali, English, French and later Sanskrit. She left behind an impressive collection of prose and poetry. Her two novels, the unfinished Bianca or The Young Spanish Maiden in English and Le Journal de Mademoiselle d’Arvers in French, were based outside India with non-Indian protagonists. Her poetry appears in A Sheaf Gleaned in French Fields, consisting of translations into English of French poetry and Ancient Ballads and Legends of Hindustan, composed of translations and adaptations from Sanskrit.

At the time of her death, she left two novels, Le Journal de Mademoiselle d’Arvers, (published posthumously in 1879), the first novel in French by an Indian writer, and Bianca, or the Young Spanish Maiden, (thought to be the first novel in English by an Indian woman writer), in addition to an unfinished volume of original poems in English and Sanskrit translations, Ancient Ballads and Legends of Hindustan. The last were among writings discovered by her father after her death in 1877.

Summary  of the Poem :-

The poem "Lakshman" is from Dutt's Ancient Ballads and Legends of Hindustan (1882). It tells a story from the Hindu epic Ramayana, in which the hero Rama is told to procure a golden deer for his wife, Sita. After Rama leaves Sita with his brother, Lakshman, for safekeeping, he finds out that the deer is actually a demon and kills it. However, when the demon dies, it calls out for help using Rama's own voice. Though Lakshman knows Rama is invincible and does not worry, Sita panics at the sound of the cry for help and asks Lakshman to go and investigate. So that he can both please Sita and also ensure that she stays put, as ordered by Rama, Lakshman draws a line in the ground that Sita is not to cross while he leaves to search for Rama. While he is absent, however, Sita crosses the line and is abducted by the demon king Ravana.

The poem takes this story from the Ramayana and opens up the discussion between Sita and Lakshman, expanding it beyond what is present in the epic. Still, much of the core elements of their dialogue are preserved from the epic. First, Sita warns Lakshman to take heed of what are allegedly Rama's cries. When Lakshman tries to counsel Sita otherwise, she accuses him of conspiring to bring Rama down and take her for his own wife. Lakshman is harmed by her words and finally bows to her wishes, drawing a circle with an arrow that she is not to cross while he goes out to assist Rama. Despite the fact that Sita is enraged and has hurt Lakshman's feelings, however, he is calm, only speaking to bless Sita and pray that the deities of the forest will keep her safe when he leaves. The poem ends with a "sorrow dark" on Lakshman's face and a "vulture scream[ing]" as he departs.

Summary Analysis of the Poem :- 

In terms of its form and rhyme scheme, the poem is written in twenty-two stanzas of eight lines each and closely mirrors a standard ballad, with each stanza consisting of alternating rhymes. Importantly, however, the stanzas of a standard ballad are only four lines, so the doubling of the line count per stanza in "Lakshman" might be meant to reflect the dialogue occurring between Lakshman and Sita. Also important to Dutt's rendition of the legend is her preservation of language that mirrors other translations from the Sanskrit original, such as "succour" and "Videhan Queen" in reference to Sita. This lends Dutt's rendition the authority of an accurate and rigorous account while still allowing her to innovate greatly on the story.

Where Dutt chooses to embellish the original account, then, is in providing additional descriptions of both the surroundings and Rama, so as to round out the sentiments conveyed by both Lakshman and Sita. First, when Lakshman begins speaking in stanza 4, he quickly begins listing a series of figures that would cower before Rama, adapted from the original, including "the lion and the grizzly bear," "sun-staring eagles," "pythons and cobras," "Rakshasas, Danavs, demons, [and] ghosts." The rhymes that are set up between these beings and their surroundings reinforces not only their connection to nature, but also Rama's supremacy—his power both to make the world and her children bow before him and his might. Further, the move from natural animals such as lions and bears to supernatural figures such as Raskshases and ghosts emphasises that Rama is a being who commands not only things of natural significance, but also things of divine import.

Second, Dutt has Sita taunt Lakshman and his supposed cowardice by means of a new, original metaphor: 

"But then thy leader stood beside! / Dazzles the cloud when shines the sun, / Reft of his radiance, see it glide / A shapeless mass of vapours dun; / So of thy courage,—or if not, / The matter is far darker dyed, / What makes thee loth to leave this spot? / Is there a motive thou wouldst hide?" 

Sita here is comparing Lakshman to a cloud that seems to shine only when it borrows the light or radiance of the sun. She suggests that Lakshman's courage is similar, only present when his brother (who is like the sun) is around; otherwise, Sita suggests, Lakshman is cowardly, just as the cloud is "shapeless" and "dun" without the sun's light. This metaphor connects Lakshman to the natural world as well, conveying the message that he himself is also inferior to Rama, who is the master of nature. The later detail of Sita shooting "flames from her eyes" paints Sita also as a goddess or supernatural being that Lakshman must not deny, further isolating Lakshman from the couple of Sita and Rama.

Finally, at the poem's close, Lakshman turns to nature and prays that it will keep Sita safe from harm, in a manner adapted from the original but far more explicit and extensive: 

"And oh ye sylvan gods that dwell / Among these dim and sombre shades, / Whose voices in the breezes swell / And blend with noises of cascades / Watch over Sita." 

As a merely loyal servant to the more powerful Rama and Sita, he must entrust nature with the task of protection when he fails. Further, the "hoarse" scream of a vulture serves as an ill omen that foreshadows Sita's eventual abduction by Ravana. Here, too, nature seems to play an important role as it mirrors the affairs of the demigods and legendary figures depicted in the Ramayana.

Conclusion :-

The poem is this characteristic of many of Dutt's interests—the relationship of humanity, divinity, and nature; the complexity of family relationships; the experience of loss or bereavement; and the merging of English verse forms and poetic traditions with her own innovations and Indian inspirations. At the same time, its more formal tone and register—as distinct from those of other, more personal poems in the collection such as "The Tree of Life" and "Our Casuarina Tree"—also shows that, in writing this poem, Dutt was intentionally calling back to something other than her own experience, something deeply rooted in tradition and timeless in its telling and retelling over time.

Midnight's Children

 Hello Everyone, I'm a student of the Department of English,M.K.B.U. This blog is a part of a thinking activity which is assigned by Dr.Dilip Barad Sir. In this blog I'm going to give some basic information about the novel and also give answers of two questions.

Introduction :-

Midnight's Children is a 1981 novel by Indian-British writer Salman Rushdie, published by Jonathan Cape with cover design by Bill Botten, about India's transition from British colonial rule to independence and partition. It is a postcolonial, postmodern and magical realist story told by its chief protagonist, Saleem Sinai, set in the context of historical events. The style of preserving history with fictional accounts is self-reflexive.

Midnight's Children sold over one million copies in the UK alone and won the Booker Prize and James Tait Black Memorial Prize in 1981. It was awarded the "Booker of Bookers" Prize and the best all-time prize winners in 1993 and 2008 to celebrate the Booker Prize 25th and 40th anniversary. In 2003 the novel appeared at number 100 on the BBC's The Big Read poll which determined the UK's "best-loved novels" of all time.

About the Writer :-

Sir Ahmed Salman Rushdie is an Indian-born British-American novelist. His work often combines magic realism with historical fiction and primarily deals with connections, disruptions, and migrations between Eastern and Western civilizations, typically set on the Indian subcontinent. Rushdie's second novel, Midnight's Children (1981), won the Booker Prize in 1981 and was deemed to be "the best novel of all winners" on two occasions, marking the 25th and the 40th anniversary of the prize.

After his fourth novel, The Satanic Verses (1988), Rushdie became the subject of several assassination attempts and death threats, including a fatwa calling for his death issued by Ruhollah Khomeini, the supreme leader of Iran. Numerous killings and bombings have been carried out by extremists who cite the book as motivation, sparking a debate about censorship and religiously motivated violence. In 2022, a man stabbed Rushdie after rushing onto the stage where the novelist was scheduled to deliver a lecture at an event in Chautauqua, New York.

In 1983, Rushdie was elected a fellow of the Royal Society of Literature. He was appointed a Commandeur de l'Ordre des Arts et des Lettres of France in 1999. Rushdie was knighted in 2007 for his services to literature. In 2008, The Times ranked him 13th on its list of the 50 greatest British writers since 1945. Since 2000, Rushdie has lived in the United States. He was named Distinguished Writer in Residence at the Arthur L. Carter Journalism Institute of New York University in 2015. Earlier, he taught at Emory University. He was elected to the American Academy of Arts and Letters. In 2012, he published Joseph Anton: A Memoir, an account of his life in the wake of the events following The Satanic Verses. Rushdie was named one of the 100 most influential people in the world by Time magazine in April 2023.

Summary of the novel :-

Midnight’s Children, allegorical novel by Salman Rushdie, published in 1981. It is a historical chronicle of modern India centring on the inextricably linked fates of two children who were born within the first hour of independence from Great Britain.

Exactly at midnight on Aug. 15, 1947, two boys are born in a Bombay (now Mumbai) hospital, where they are switched by a nurse. Saleem Sinai, who will be raised by a well-to-do Muslim couple, is actually the illegitimate son of a low-caste Hindu woman and a departing British colonist. Shiva, the son of the Muslim couple, is given to a poor Hindu street performer whose unfaithful wife has died.

Saleem represents modern India. When he was 30, he wrote his memoir, Midnight’s Children. Shiva is destined to be Saleem’s enemy as well as India’s most honoured war hero. This multilayered novel places Saleem at every significant event that occurred on the Indian subcontinent in the 30 years after independence. Midnight’s Children was awarded the Booker McConnell Prize for fiction in 1981. In 1993 it was chosen as the best Booker Prize novel in 25 years.

Characters of the Novel :-

Saleem Sinai :- The protagonist and narrator of the novel, Saleem Sinai is born with special powers and sees himself as the representative of the new India. 

Shiva :- A fellow midnight's child, Shiva is Saleem's nemesis and embodies the opposite of Saleem's qualities. 

Parvati :- Saleem's love interest, Parvati represents the idealised vision of India and its potential for unity. 

Amina Sinai :- Saleem's mother, Amina, plays a significant role in the story as a source of comfort and support for Saleem.

Questions based on the Novel :-

1. Make a thematic study of the novel Midnight’s Children.

1). Identity :- The theme of identity is prominent throughout the novel as Saleem struggles with his own sense of self. Being born at the exact moment of India's independence, Saleem feels a deep connection to his nation but also faces an identity crisis due to his unique abilities. The novel explores the complexities of personal and national identities in a post-colonial context. 

On the other hand we can see that Shiva and Saleem both are being exchanged by a nurse at hospital, so they both are living one and other lives.  When Saleem's blood did not match with their parents at that time, Saleem's father doubted his mother. So, this novel is mostly based on identity.

2). History and Memory :- Midnight's Children delves into the power of history and memory in shaping individual and collective narratives. Saleem's narrative is intertwined with the historical events of India, and he becomes a symbol of the nation's collective memory. The novel questions the reliability and subjectivity of memory and how it influences our understanding of the past. 

Saleem's story is very much connected with the history of England. How Saleem's family is divided into two countries and how the people survived at the time of independence. History of England is not directly told by the writer but the story of Saleem is symbolically represents the history of England.

3. Colonialism and Independence :- The novel explores the impact of British colonial rule and the struggle for independence on the characters and the nation as a whole. It reflects on the trauma, violence, and division caused by the partition of India and the long-lasting effects of colonialism on individuals and nations.

It also explores the behaviour of British people towards Indian or Pakistani people. How the Indian people became members of the army and how they were killed by the opposite party. Their sacrifice does not matter for the British people; they only want protection.

2. Write an essay on narrative technique in Midnight’s Children.

The narrator of this novel is Saleem Sinai. The narrative pattern of this novel is the story within the story. 

Throughout this novel the narrative style is always shifting. Saleem narrates in the first person, addressing the audience directly and informally. At the beginning of the story he is writing as if he is trying to get everything out as fast as possible, in a stream of consciousness form. This shows how important his story is to write before he dies. Throughout his narration, he is weaving in and out of different stories from generations, leaving holes in some of his stories. Saleem even admits his own mistakes in his narration style. This might reflect how Saleem himself is having a hard time grasping and understanding all that is going on in his life. It also allows the reader to connect certain things they would not have connected with a linear account. For example, when Mary Pereira reveals the truth about Saleem’s birth, the characters experience what it is like when the past comes to affect the present. This might be used to show that history not only repeats itself, but it also comes back. 

The Structure of Midnight's Children, It is difficult to categorise Midnight's Children. The structure of the novel is more like a Chinese box - stories within the stories. There are so many books like Panchtantra, Kathasaritsagara and Arabian Nights, which use the technique of stories within the story. Though Midnight's Children also uses the frame story in which all the other stories fit together, the structure of Rushdie's novel is different from that of the ancient storybooks. 

There are four generations and two families,one was poor and the other one was rich. There are various stories and secrets in this novel. In all the stories Saleem comes as the protagonist who is struggling with his identity and fate. The novel starts with Saleem's maternal background and then there is the information of his mother and his aunt. Then after he is talking about his personal life and then there is a story of his child. So, inshort we can say that this novel uses the narrative structure like a Chinese box.

Conclusion :-

Midnight's Children is a captivating and thought-provoking novel that explores a range of themes through its intricate storytelling. The characters, with their personal struggles and connections to India's history, bring the narrative to life. Salman Rushdie's masterful writing and the novel's richly layered plot make it a must-read for anyone interested in Indian literature and the complexities of identity and history.