INDIAN

LITERATURE
(MIDTERM PAPER)

NAME: Fatima Grace B. Pili

AB/CHRISTIAN EDUCATION (ELED)
PROFF: TESS TALAMISAN

Indian Literature

-refers to the literature produced on the Indian subcontinent until 1947 and in the Republic of India thereafter.
TheRepublic of India has 22 officially recognized languages.
All dates about the ancient Indian literature are not only uncertain, but are contested. European scholars from 18th
century onwards estimated dates of various texts based on methods that Indian scholars consider arbitrary. The earliest works of
Indian literature wereorally transmitted. Sanskrit literature begins with the oral literature of the Rig Veda a collection of sacred
hymns dating to the period 15001200 BCE. The Sanskrit epics Ramayana and Mahabharata appeared towards the end of the first
millennium BCE. Classical Sanskrit literature developed rapidly during the first few centuries of the first millennium BCE, [1] as did
the Tamil Sangam literature, and the Pli Canon. In the medieval period, literature in Kannada and Telugu appeared in the 9th and
11th centuries respectively.[2]Later, literature in Marathi, Bengali, various dialects of Hindi, Persian and Urdu began to appear as
well. Early in the 20th century,Bengali poet Rabindranath Tagore became India's first Nobel laureate. In contemporary Indian
literature, there are two major literary awards; these are the Sahitya Akademi Fellowship and the Jnanpith Award. Eight Jnanpith
Awards each have been awarded in Hindi and Kannada, followed by five in Bengali and Malayalam, four in Oriya, three
in Gujarati, Marathi, Telugu and Urdu,[3][4] and 2 each inAssamese and Tamil.

Government
The Government of India (GoI), officially known as the Union Government and also known as the Central
Government, was established by the Constitution of India, and is the governing authority of the union of 29 states and seven union
territories, collectively called the Republic of India. It is based in New Delhi, the capital of India.
The basic civil and criminal laws governing the citizens of India are set down in major parliamentary legislation, such as
the Civil Procedure Code, the Indian Penal Code, and the Criminal Procedure Code. The union and individual state governments all
each consist of executive, legislative and judicial branches. The legal system as applicable to the federal and individual state
governments is based on the English Common and Statutory Law. Because the seat of government is in New Delhi, "New Delhi" is
commonly used as a metonym for the Central

Economy
Indias economic freedom score is 55.7, making its economy the 120th freest in the 2014 Index. Its score is 0.5 point higher than last
year, reflecting modest improvements in six of the 10 economic freedoms including trade freedom and fiscal freedom. India is ranked
25th out of 41 countries in the AsiaPacific region, and its overall score is below the regional and world averages.
Over the 20-year history of the Index, India has advanced its economic freedom score by nearly 11 points. From a low
base, it has achieved double-digit improvements in half of the 10 economic freedoms, most notably trade freedom, which improved
by over 65 points. Although India continues to be rated a mostly unfree economy, the country has achieved its highest score ever in
the 2014 Index.

Institutional shortcomings continue to undermine Indias chances for long-term economic development. The
governments presence in the economy remains extensive through state-owned enterprises and wasteful subsidy programs that result
in chronically high budget deficits. In September 2012, the government lifted foreign direct investment restrictions in several sectors
including retail and aviation. However, the overall regulatory environment remains burdened by administrative bureaucracy. Nontariff barriers and burdensome investment regulations hamper private-sector development and modernization of the economic base.

India - magnificent cultural treasures...

The exotic sound of Indian music from a tape which gave us our Indian friends as well as the many
beautiful photos and videos we took in India, recall the flair of the orient and convey a vivid picture of all
the fascinating and conflicting impressions we had on our trip. Omnipresent and unforgettable are the
pictures of the magnificent Mogul- and Maharaja palaces, mosques, temples and forts from white marble,
red sandstone and other refined material with most elaborate stonemason works and inlays of
semiprecious stone and one feels, nothing will ever surpass the beauty of this amazing cultural heritage.
Above all the legendary Taj Mahal is an overwhelming sight and exceeds all you ever can imagine. It's
fascination arises from the awareness, that it is a creation of love just as from its beauty, which lies in the
boldness of its inception, the faultless architecture, the magnificence of the structure and the sense of
proportion in all its components. The layout is superb, the setting on the banks of river Jamuna, amidst
beautiful lawns and gardens, and the construction in pure white marble are incomparable. The Taj is as
beautiful during daytime as it is in the moon light. It is indeed the most magnificent monument and
memorial of love which mankind ever has seen!
The marvelous Mogul- and Maharaja palaces, mosques and temples are the one side and the real reason to
visit India, however the real life presents a very different picture from what the normal European ever can
imagine. Inseparable from the magnificent cultural treasures through our minds and dreams go the
pictures of the unbelievable and unimaginable poverty of so many people right around us everywhere and
all day long. All our lives we'll never forget those terrible sights. It is a very different thing to watch the
misery on TV than to experience it in person. We did not know what it means to be faced with living
conditions of the so-called "third world". Beggars, misery and bitter poverty wherever you go. We gave
alms to handicapped people and pleased children with sweets,
balloons and bananas ... however of course the single people can't
help it.
There is a very wide diversity of economic status and education
in Indian society. Just recall, that about 50% of the Indian people
are illiterates while Indian computer scientists are appreciated
specialists in the sophisticated Western countries! By the side of
palatial residences one can see the crowded slums where people
live in sub human conditions. In the cities imported cars move
side by side with rickshaws. Like in economic conditions there is also a very wide variety in customs,
languages and religions in
this
amazing
country.
So despite the great diversity India is one Nation with an amazing potential. However it will take a long
time and need more international support to create dignified living conditions for all people in this vast
country.

Hinduism - religion is way of life

In India religion is way of life. It is an integral part of the entire
Indian culture and permeates every aspect of life. Hinduism is
the dominant faith, practiced by over 80% of the population. But
India is a secular state. People of many religions freely live here.
Hindu Religion is the most peaceful religion I know. That's why
Hinduism can be passed only by birth
and thus there are no missionaries
who try to convert people to this
religion.
Hindu religious thought is based on the
religion truly is "Vaidic" religion and
Hindu came to be attached because the
the banks of river Sindhu then. The
Sanskrit about 3000 years ago and give
and belief of the "Aryas" who settled
considered to be one of the earliest
Hinduism the "Vedas" are the scriptures
as revealed to the sages in the state of

"Vedas". In fact the name of the

not "Hindu" religion. The name
people practicing it were living on
"Vedas" were written down in
a detailed description of customs
India in those days. They are
literary works of mankind. For
incorporating the science of living
deep meditation .

The Hindu believes, that each being has

an immortal soul, which will
migrate to another body after death. Rebirth (reincarnation) can happen in form of any creature. That's
why faithful Hindus are strict vegetarians. The Hindu understands his present state - sickness and misery
as well as health and prosperity - as a deserved consequence of the good or bad deeds in his previous life.
Thus he would not envy someone his fortune or complain about his bad luck . A handicapped Hindu said:
"I don't know what I have done in my previous life but I have to suffer for it now". This philosophy of
Karma should encourage him to be virtuous.
The visit with our Indian friend and our observations in the different temples and especially at the banks
of the Ganges in Varanasi (Benares) gave us deep insides in the spiritual world of Hinduism and lead us to
a better understanding of this belief. It is unimaginable how strongly Hinduism determines people's life
with all the rites as for example daily worshipping different deities at the domestic altar. The domestic
altar is a "must" in each home but as well in public establishments like shops, restaurants etc. Such an
altar mostly consists of a board on which are placed small statues of the different deities, decorated with
flowers, an oil lamp and religious pictures.

One hardly can get a true picture of Hinduism without having been to Varanasi (Benares), which is the
most important place of pilgrimage for Hindus. Countless temples and places of cult give the place an
unchangeable face. Each Hindu at least once in his life should go to Varanasi to take a holy bath in
"Mother Ganges" and to pray to Lord Shiva, the creator of universe (see picture above). This bath is a
spiritual act with special rites. It will purify his soul from sins and is an important step on the way to his
ultimate goal - to enter the Nirvana, which means the salvation from the cycle of birth, death and rebirth
and ultimately to be one with the almighty God, the creator. Varanasi is also a favorite place to die, as
Hindus believe, that one who dies at Varanasi gains salvation automatically, such is the greatness of this
place! There are ritual cremations on pyres (for affluent people from Sandle wood) and in crematoria each

night. All Hindus desire, that no matter where they die, at least their ashes will be merged in the sacred
waters of Mother Ganga, who in Hindu's belief in her
immense love for her children will bring salvation from the
trauma of the cycle of birth, death and rebirth
Traditional clothing.....
Most impressive and charming is the colorful traditional
clothing of all the women, especially in the country
Rajasthan. They wear their saris each day, even while
working in the
field
(see
chapter
"experiences in the country" and related
site).
The sari is a 6 m long and 2 m broad scarf
and sure it
demands some skill to dress oneself with it.
It is available
in different materials (cotton, synthetic,
silk...)
accordingly to the intended purpose. For
festive
occasions there are precious, elaborate,
handmade saris
from pure. finest silk with golden threads in
marvelous
designs. The Indian women have an
amazing sense
for tasteful clothing and pay attention that
all
the
accessories like bangles and the point on
the
forehead
match in color with the sari. The festive
saris
are
incredible beautiful and the women make a
charming sight!
Such valuable handmade pieces are very
expensive
in
relation to an average income in India. However men spend much money to dress their wives and sisters
accordingly to their social position.

The traditional clothing of men consists of long wide shirts and trousers from different materials,
beginning with simple cotton up to fine pure silk, according to the occasion. In Rajasthan some men by
tradition wear a great looking twisted mustache and sometimes a turban. However,
men dressed like on the picture are seldom. To see a festive dressed family see picture
under the chapter "Diwali".

Diwali, the happiest festival in Hinduism

If you ever go to India you should do it around Dusherba/Diwali in October. We had the unique fortune to
share Diwali with our Indian friends and owe to them the happiest days of our trip as well as
unforgettable beautiful experiences. Diwali is the festival of lights, celebrated all overIndia, to
commemorate the victory of Lord Rama over demon King Ravana. The festival denotes, that truth always

triumphes over the evil. This is the happiest festival of Hindu calendar. At night countless oil lamps light
Rama the way home from his period of exile. Today the festival is also dedicated to Lakshmi and to Kali
in Calcutta. The picture shows the family of our friend's son on Diwali in
festive traditional clothing eating sweets.
All in all the festival lasts for five days.
On the first day The houses are thoroughly cleaned and the door steps are
decorated with intricate rangolis [chalk design].
Day two is dedicated to Krishna's victory over Narakasur, a legendary
tyrant, in South India on this day, a pre dawn bath is followed by donning
of new clothes. By custom you have to take a pre dawn bath because it is
said, that angels, Gods etc. roam on earth in the pre sunrise time.
Day three is spent in worshipping goddess Lakhsmi, the goddess of
fortune. Traditionally this is the beginning of new financial year for the
companies.
Day four commemorates the visit of the friendly demon bali whom Lord Vishnu put in his place.
On day five men visit their sisters to have a tika put on their head (tika is an application of red vermilion
on the forehead. Hindus apply it).
Exchanging sweets has become a part of tradition as well as lighting of oil lamps. Diwali marks also the
beginning of the New Year in North India, which is welcomed with crackers and street fireworks like
everywhere in the world

Experiences in the country

On our long way through the country by plain, train and more than 1000 km by car, we contacted many
people and found them very friendly, no matter where we stayed. English is understood almost
everywhere and especially the children and youngsters liked
a small talk. Mainly they wanted to know, where we came
from and if we liked India and were happy to get a
confirmation.
The villages are usually cleaner than the old districts of the
cities and we were pleasantly surprised to see, that people in
the country were amazingly well dressed. With their colorful
traditional clothing the woman decorate like flowers the
countryside (see chapter "traditional clothing"). The picture
shows girls and woman cutting the lawn in the temple garden
of Sarnath (near Varanasi). It is the very normal way to do this work - no lawn mower! It gives them the
chance to earn some Rupies.
The more we penetrated into the interior the more we asked ourselves in which age we were stepping
back. People live like centuries ago and time seems to stand still there. The small houses often are made
from loam with thatched roofs and small openings for the windows. The equipment is accordingly poor

and mainly consists of a kind of handmade camp beds from wood and hemp. Often there is no water and
no electricity. So the woman fetch water from a well and carry it in globular vessels, so-called "matkas",
from clay or brass on their heads to their homes as they carry everything on their heads. If you watch
them as they walk in their beautiful saris they truly have a kingly appearance (see chapter about
traditional clothing). We have the deepest respect for those people, who despite of their poverty keep their
self-respect
and
sense
for
beauty.
However,
beggars
are
everywhere...
Most interesting for us was a stop at the "Persian wheel", an irrigation system which is famous in north
India. At the wheel is fixed a long chain with cans, which scoop the water out of
the well into a duct . It works with ox
power.

Indian Literature
The
ancient
Indian
literary tradition was
primarily oral i.e. sung
or recited. As a result,
the earliest records of a
text may be later by
several centuries than the
date of its composition.
Furthermore,
perhaps
because so much Indian
literature is re-working
of the Sanskrit epics,
the Ramayana and
the Mahabharata, and
the
mythological
writings
known
as Puranas, the authors
often remain anonymous.
The Mahabharata is said
to be the longest poem in
the world at 100,000
stanzas
strong.
The
Mahabharata
is eight
times longer
than
Homers two epics (the
Illiad and the Odyssey)
combined!

Amir Khusroo a 13th century Sufi philosopher and poet from India once visited Iran. In Iran he was
asked to introduce himself. And his response was marvelous: Why are you asking me to introduce
myself! I am a parrot of India?

Medieval India themes

In medieval Indian literature the earliest works in many of the languages were sectarian, designed to
advance or to celebrate some unorthodox regional belief. Examples are the Caryapadas in
Bengali, Tantric verses of the 12th century, and the Lilacaritra (circa 1280), in Marathi. In Kannada
(Kanarese) from the 10th century, and later in Gujarati from the 13th century, the first truly indigenous
works are Jain romances; ostensibly the lives of Jain saints, these are actually popular tales based on
Sanskrit and Pali themes. Other example was in Rajasthani of the bardic tales of chivalry and heroic
resistance to the first Muslim invasions - such as the 12th-century epic poem Prithiraja-raso by Chand
Bardai of Lahore.
Most important of all for later Indian literature were the first traces in the vernacular languages of the
northern Indian cults of Krishna and of Rama. Included are the 12th-century poems by Jaydev, called
the Gitagovinda (The Cowherd's Song); and about 1400, a group of religious love poems written in
Maithili (eastern Hindi of Bihar) by the poet Vidyapati were a seminal influence on the cult of RadhaKrishna in Bengal.

The Bhakti Tradition

The full flowering of the Radha-Krishna cult, under the Hindu mystics Chaitanya in Bengal and Vallabhacharya at Mathura,
involved bhakti (a personal devotion to a god). Although earlier traces of this attitude are found in the work of the Tamil
Alvars (mystics who wrote ecstatic hymns to Vishnu between the 7th and 10th centuries), a later surge of bhakti flooded every
channel of Indian intellectual and religious life beginning in the late 15th century.
In the 16th century, the Rajasthani princess and poet Mira Bai addressed her bhakti lyric verse to Krishna, as did the Gujarati
poet Narsimh Mehta.

Bhakti was also addressed to Rama (an avatar of Vishnu), most notably in the Avadhi (eastern Hindi)
works of Tulsi Das; his Ramcharitmanas has become the authoritative.
The early gurus or founders of the Sikh religion, especially Nanak and Arjun, composed bhakti hymns to
their concepts of deity. These are the first written documents in Punjabi and form part of the Adi
Granth (First, or Original, Book), the sacred scripture of the Sikhs, which was first compiled by Arjun in
1604.

Traditional Material
In the 16th century, Jagannath Das wrote an Oriya version of the Bhagavata and Tuncattu Eruttacchan,
the so-called father of Malayalam literature, wrote recensions of traditional literature. Added, in the 18th
century, was a deliberate imitation of Sanskritic forms and vocabulary by pandits. In 18th-century
evolved Assamese and Marathi prose chronicles, ballads and folk drama involving much dance and song.
The Tamil Tradition
The only Indian writings that incontestably predate the influence of classical Sanskrit are those in the
Tamil language. Anthologies of secular lyrics on the themes of love and war, together with the

grammatical-stylistic work Tolkappiyam (Old Composition), are thought to be very ancient. Later,
between the 6th and 9th centuries, Tamil sectarian devotional poems were composed, often claimed as the
first examples of the Indian bhakti tradition. At some indeterminate date between the 2nd and 5th
centuries, two long Tamil verse romances (sometimes called epics) were written: Cilappatikaram(The
Jeweled Anklet) by Ilanko Atikal, which has been translated into English (1939 and 1965); and its
sequel Manimekalai (The Girdle of Gems), a Buddhist work by Cattanar. Thiruvalluvar, a celebrated
Tamil poet, wrote the Thirukkural, a work on ethics in Tamil literature.

Linguistic and Cultural Influences

Much traditional Indian literature is derived in theme and form not only from Sanskrit literature but from
the Buddhist and Jain texts written in the Pali language and the other Prakrits (medieval dialects of
Sanskrit). This applies to literature in the Dravidian languages of the south as well as to literature in the
Indo-Iranian languages of the north. Invasions of Persians and Turks, beginning in the 14th century,
resulted in the influence of Persian and Islamic culture in Urdu, although important Islamic strands can be
found in other literatures as well, especially those written in Bengali, Gujarati, and Kashmiri. After 1817,
entirely new literary values were established that remain dominant today.
The Urdu poets almost always wrote in Persian forms, using the ghazal for love poetry in addition to an
Islamic form of bhakti, the masnavi for narrative verse, and the marsiya for elegies. Urdu then gained use
as a literary language in Delhi and Lucknow. The ghazals of Mir and Ghalib mark the highest
achievement of Urdu lyric verse. The Urdu poets were mostly sophisticated, urban artists, but some
adopted the idiom of folk poetry, as is typical of the verses in Punjabi, Pushtu, Sindhi or other regional
languages.

Regional Literature
Literary activities burst forth with the playwright Bharatas (200 BC) Natya Shastra, the Bible of dramatic
criticism. The earliest plays were soon overshadowed by Kalidasas Shakuntala, a heroic play, a model for
ages. While Shudrakas Mrichchhakatika, was a play of the social class. Bhavabhuti (circa 700AD) was
another well-known figure, his best being Malatimadhava and Uttaramacharita (based on Ramayana).
The great Sanskrit poems are five Kalidasas Raghuvamsa and Kumarasambhava, Kiratarjuniya of
Bharavi (550AD), Sishupalavadha of Magha (7th century AD) and Naishadhiyacharita of Sriharsha (12th
century AD). All of them draw from the Mahabharata. Shorter poems of great depth were composed on a
single theme like love, morality, detachment and sometimes of grave matters. The earliest and best
collections of such verses called Muktakas are those of Bhartrihari and Amaruka.
The Modern Period
Poets such as Ghalib, lived and worked during the British era, when a literary revolution occurred in all
the Indian languages as a result of contact with Western thought, when the printing press was introduced
(by Christian missionaries), and when the influence of Western educational institutions was strong.
During the mid-19th century in the great ports of Mumbai, Calcutta, and Chennai, a prose literary
tradition aroseencompassing the novel, short story, essay, and literary drama (this last incorporating
both classical Sanskrit and Western models)that gradually engulfed the customary Indian verse genres.
Urdu poets remained faithful to the old forms while Bengalis were imitating such English poets as Percy
Bysshe Shelley or TS Eliot.

Ram Mohan Roy's (1774-1833) campaign for introduction of scientific education in India and Swami
Vivekananda's work are considered to be great examples of the English literature in India.
During the last 150 years many writers have contributed to the development of modern Indian literature,
writing in any of the 18 major languages (as well as in English). Bengali has led the way and today has
one of the most extensive literatures of any Indian language. One of its greatest representatives is Sir
Rabindranath Tagore, the first Indian to win the Nobel Prize for literature (1913). Much of his prose and
verse is available in his own English translations.
Work by two other great 20th-century Indian leaders and writers is also widely known: the verse of the
Islamic leader and philosopher Sir Muhammad Iqbal, originally written in Urdu and Persian; and the
autobiography of Mohandas K. Gandhi, My Experiments with Truth, originally written in Gujarati
between 1927 and 1929, is now considered a classic.
Several other writers are relatively well known to the West. They include Jawaharlal Nehru (1889-1964)
for his Glimpses of World History, Discovery of India and An Autobiography (1936); Mulk Raj Anand,
among whose many works the early affectionate Untouchable (1935) and Coolie (1936) are novels of
social protest; and R. K. Narayan, writer of novels and tales of village life in southern India. The first of
Narayan's many works, Swami and Friends,appeared in 1935; among his more recent titles are The
English Teacher (1980), The Vendor of Sweets (1983), and Under the Banyan Tree (1985). Among the
younger authors writing of modern India with nostalgia for the past is Anita Desaias in Clear Light of
Day (1980). Her In Custody (1984) is the story of a teacher's fatal enchantment with poetry. Ved Mehta,
although long resident in the U.S., recalls his Indian roots in a series of memoirs of his family and of his
education at schools for the blind in India and America; among these works are Vedi (1982) and Sound
Shadows of the New World(1986).
The other well-known novelist/ writers are Dom Moraes (A Beginning), Nlissim E Zekiel (The
Unfurnished Man), P Lal, A.K.Ramanujan (whose translations of Tamil classics are internationally
known), Kamala Das, Arun Kolatkar and R. Parthasarathy; Toru Dutt; Sarojini Naidu; Aurobindo; Raja
Rao, GV Desani, M Ananthanarayanan, Bhadani Bhattacharya, Monohar Malgonkar, Arun Joshi, Kamala
Markandaya, , Khushwant Singh, Nayantara Sahgal, O.V. Vijayan; Salman Rushdie; K.R. Sreenivasa
Iyengar, C.D. Narasimhaiah; M.K. Naik; Vikram Seth; Allan Sealy; Sashi Tharoor; Amitav Ghosh;
Upamanyu Chatterjee; and Vikram Chandra.
Literature
Over a century ago, Rudyard Kipling wrote his infamous White-Mans Burden poem, directing it
towards the Indian populace subject to colonial rule. While his poem is today derided for its virulently
racist tone, it said a lot about the troubled state of a culture under siege:
Since Indias climactic independence in 1947, however, their literaturein particular their novelhas
succeeded in reinvigorating the medium on a national and international scale. Authors like Salman
Rushdie and V.S. Naipaul have reinvented the genre to best portray the storied but tumultuous nation. In
the words of Priya Joshi, the novel
was seen as the form most capable of consolidating anticolonial sentiment, of resisting orthodoxy, and
of promoting social change.Here is an essential list of some of the finest works from modern-day India:

Sunetra Gupta The Glassblowers Breath

An experimental and at times absurd account of an Indian woman coming to terms with her
responsibilities and her marriage duties, the novel weaves back and forth between Calcutta and New
York. The narrator, who refers to herself in the second person, is but one of the many elusive but
nevertheless remarkable characters in the novel, which has been compared to Virginia Woolfs great
modernist classic Mrs.Dalloway.
Rohinton Mistry A Fine Balance
A Fine Balance tells the story of two Bombay tailors who struggle to stay afloat during the tumultuous
infighting of the 1970s. Mistry, an Indian-Canadian author who has become a reknowned figure in both
countries, explores the vicissitudes of history upon communities and the stability of family in the face of
great uncertainty

Kiran Desai The Inheritance of Loss

Daughter of fellow Indian Author Anita Desai, Kirans sophomore effort about a retired Himalayan
judges family trying to hold his family together during the Nepalese uprising won her the Booker Prize in
2006. The Inheritance of Loss is both local and international, and like many other Indian Novels, explores
the consequences of colonialism and present-day globalisation upon a once-isolated pastoral life.
Jhumpa Lahiri The Interpreter of Maladies
This collection of short stories from this Pulitzer-Prize winning Indian-American author speaks volumes
about the dissonance of the immigrant experience. The title story, among others, is built around our desire
for health and happiness in a world both multicultural and connected, but unfortunately still stricken by
Babels curse.
Midnights Children Salman Rushdie
Now a required reading for anybody learning World literature, Salman Rushdie wrote one of the greatest
works of Indian Literature when he was just 34. One of the foundational texts of Magic Realism, Rushdie
describes India from the moment of Independence onward through the eyes of a child born in a world full

of mystical forces. Darkly ironic but grand in scope, this novel is an essential introduction to the wild but
contemplative nature of the Indian novel.
A Bend in the River V.S. Naipaul
Just as Joseph Conrad shocked (and offended) the world with his classic novella Heart of Darkness,
Naipauls novel about post-colonial Africa delved deeply into the issues that wracked newly-independent
countries after the eventual exit of Europeans. Though controversial, A Bend in the River paints a
troubling portrait of corrupt governance amid the vast Indian Diaspora in eastern and southern Africa.
Red Earth and Pouring Rain Vikram Chandra
This novel combines all of the best elements of Indian Literature I have previously described:
Magic Realism, the striking extent of globalization, and of course a uniquely wrought poetic
voice enliving both India and Los Angeles. This novel is a celebration of multiplicity, pushing forward
with a barrage of images, vignettes and anecdotes that almost jump out of the page.

The Glass Palace Amitav Ghosh

This intergenerational novel about a Burmese boy falling in love with an Indian girl spans over half a
century, beginning with the British Invasion of Burma in 1885 all the way to Indian independence in
1947. Extensively-researched and teeming with detail, The Glass Palace portrays both the decline of
royalty and the rise of Industrial trade in a surprisingly personal manner.

The God of Small Things Arundhati Roy

The story of two telepathic twins from Kerala reunited after over 20 years of separation, Roys
experimental style irked as many critics as she impressed, but the novel has been, like other contemporary
Indian novels, hailed for its innovative and playful language. Regardless of the disparity, though, The
God of Small Things is not merely a display of bells and whistles; rather, it is an intensely psychological
examination of post-colonial, rural India.

A Suitable Boy Vikram Seth

The great Russian Novel of India, Vikram Seth tells delves into the complexities of what should be a
simple marriage plot, and explores the relational dynamics between Indian people in an era where nothing
yet seems solved. It is, however, a relatively hopeful tale that delicately combines satire with equivocal
vindication of gender and caste.