Reading Rushdie in Translation: Midnight's Children, Postcolonial Writing/Translation, and Literatures of the World

This article examines translations of Salman Rushdie's second novel, Midnight's Children, into French, German, Italian, and Turkish. Specific examples reveal that while all translators maintain a foreignizing stance toward the source text, their respective target languages and cultures make foreignizing a relative effect, dependent on the target language and target culture's distance from or proximity to the source text/culture. The article also argues that Rushdie's novel fits the notion of literatures of the world, because the translations replicate and also refract the source text in different contexts, thus effectively multiplying a single source novel to become plural in its multiple (language) worlds.

Blending of Fiction with Historical Reality in Salman Rushdie’s Midnight’s Children and Grabiel Gracia Marquez’s One Hundred Years of Solitude

This paper investigates the use of magic realism as a strategic tool in Salman Rushdie’s Midnight’s Children (1981) and Gabriel Garcia Marquez’s One Hundred Years of Solitude (1967). Both the authors belong to two distinct continents; still, they have similar histories and stories of struggle. They develop a unique relationship while untangling reality. They create the mysterious relationship between the human beings and their circumstances in a way more realistic than the realist text.Also, the textual analysis reveals the basic goal of both the novelist to revisit their past through magic realism as both of them believe in the distortion of reality as outcome of colonial impact in their respective societies. In this sense, this paper justifies the rationale behind the blending of fiction and historical reality in both the novels. In doing so it explores how the unsayable in today’s world of asymmetrical power and domination could be said through the use of tools and elements of magic realism such as hybridity, authorial presence, metafiction, awareness of mystery in a real world setting.

Revisiting the Metanarrative of ‘Two-nation’ Theory: A Postmodern Study of Salman Rushdie’s Midnight’s Children

In 1947 India was violently partitioned into the States of India and Pakistan. The political leaders behind this partition justified their decision based on the two-nation theory which had presented the two major religions namely Hindu and Muslim as two distinct civilizations that could not coexist. By marginalising and ignoring other important aspects of Indian society, and by magnifying only the religious aspect, they successfully created the metanarrative that would strengthen the ‘imagined’ border. Salman Rushdie, a postmodernist at heart, in Midnight’s Children artistically brings the minute details of common Indian lives to the fore and thereby compels the readers to reanalyse the validity of the theory. This study, thus, by referring to the postmodern theory propounded by Jean François Lyotard, has tried to examine the legitimacy of two-nation theory in the light of the micronarratives portrayed in the Midnight’s Children.

Demystifying Magical Realism: A Close Reading of Quichotte

Magical Realism is a genre that brings in together two completely different dimensions of study, namely realism and fantastic imagination (magic). There is always an air of eerie complexity around the genre due to the confluence of such contradictions. Salman Rushdie is one of the most important Indian Diaspora writers prominently known for the triumphant utilization of this genre through innovative techniques in his work. Some of his most famous literary productions of this genre are The Midnight’s children, Shame, etc., This present paper takes Rushdie’s (2019) recent blockbuster publication Quichotte under study, and scrutinizes it from a hermeneutical point of view. It uses the principles theorized by W. B. Frais (2004) in her book Ordinary Enchantments and attempts to analyse the book under the derived perspective. This brief analysis underscores the hidden elements that are unanimously typical of all Magical Realist texts with reference to Quichottein and endeavours to demystify it.

Magic Realism as Rewriting Postcolonial Identity: A Study of Rushdie’s Midnight’s Children

Magic realism as a literary narrative mode has been used by different critics and writers in their fictional works. The majority of the magic realist narrative is set in a postcolonial context and written from the perspective of the politically oppressed group. Magic realism, by giving the marginalized and the oppressed a voice, allows them to tell their own story, to reinterpret the established version of history written from the dominant perspective and to create their own version of history. This innovative narrative mode in its opposition of the notion of absolute history emphasizes the possibility of simultaneous existence of many truths at the same time. In this paper, the researcher, in efforts to unfold conditions culturally marginalized, explores the relevance of alternative sense of reality to reinterpret the official version of colonial history in Salman Rushdie’s Midnight’s Children from the perspective of magic realism. As a methodological approach to respond to the fiction text, magic realism endows reinterpretation and reconsideration of the official colonial history in reaffirmation of identity of the culturally marginalized people with diverse voices.

Salman Rushdie's Midnight’s Children: Cultural Cosmopolitan Reflection

This article aims to prove Salman Rushdie's Midnight’s Children as a cultural cosmopolitan novel through the lance of cosmopolitanism. Out of various types, cultural cosmopolitanism is my focus in this paper. Culturally, cosmopolitanism means openness to different cultures. Cosmopolitanism is a kind of cultural outlook involving an intellectual and aesthetic attitude of openness towards peoples, places and experiences from different cultures, especially from different nations. This type of cosmopolitanism refers to an ideal about culture or identity. Cultural cosmopolitans view that membership in a particular community is not essential for one’s social identity. It stresses that such cultural membership is irrelevant. It refers to partiality for cultures besides one’s own culture of origin as with a traveler or globally conscious person. The parochial feeling of nation and nationalism is, sometimes, an obstacle to the unity and humanitarian feeling. After the outbreak of pandemic Covid 19, people living in any corner of the world have realized- to a great extent- that the feeling of cosmopolitanism and humanism should be at the center of every human. Salman Rushdie’s Midnight’s Children evokes people, in this cosmos, cannot be confined within the boundary of limited nationalism.