RK NARAYAN

From.

R. K. Narayan

10 October 1906 Born Madras, British India (now Chennai, Tamil Nadu, India) 13 May 2001 (aged 94) Died Chennai, Tamil Nadu, India Occupation Writer Nationality Indian Fiction, Mythology, and NonGenres fiction PadmaVibhushan, Sahitya Notable Akademi Award, AC Benson award(s) Medal, Padma Bhushan

R. K. Narayan (10 October 1906 13 May 2001), shortened from Rasipuram Krishnaswami Iyer Narayanaswami was an Indian author whose works of fiction include a series of books about people and their interactions in an imagined town in India called Malgudi. He is one of three

leading figures of early Indian literature in English,along with Mulk Raj Anand and Raja Rao. He is credited with bringing Indian literature in English to the rest of the world, and is regarded as one of India's greatest English language novelists. Narayan broke through with the help of his mentor and friend, Graham Greene, who was instrumental in getting publishers for Narayans first four books, including the semi-autobiographical trilogy of Swami and Friends, The Bachelor of Arts and The English Teacher. Narayans works also include The Financial Expert, hailed as one of the most original works of 1951, and Sahitya Akademi Award winner The Guide, which was adapted for films in Hindi and English languages, and for Broadway. The setting for most of Narayan's stories is the fictional town of Malgudi, first introduced in Swami and Friends. His narratives highlight social context and provide a feel for his characters through everyday life. He has been compared to William Faulkner, who also created a fictional town that stood for reality, brought out the humour and energy of ordinary life, and displayed compassionate humanism in his writing. Narayan's short story writing style has been compared to that of Guy de Maupassant, as they both have an ability to compress the narrative without losing out on elements of the story. Narayan has also come in for criticism for being too simple in his prose and diction. In a writing career that spanned over sixty years, Narayan received many awards and honours. These include the AC Benson Medal from the Royal Society of Literature and the Padma Vibhushan, India's second-highest civilian award. He was also nominated to the Rajya Sabha, the upper house of the Indian parliament.

Early years
R. K. Narayan was born in Madras (now known as Chennai), Madras Presidency, British India. His father was a school headmaster, and Narayan did some of his studies at his care of his maternal grandmother, Parvati. During this time his best friends and playmates were a peacock and a mischievous monkey. His grandmother gave him the nickname of Kunjappa, a name that stuck to him in family circlesShe taught him arithmetic, mythology, classical Indian

music and Sanskrit. According to his youngest brother R. K. Laxman, the family mostly conversed in English, and grammatical errors on the part of Narayan and his siblings were frowned upon. While living with his grandmother, Narayan studied at a succession of schools in Madras, including the Lutheran Mission School in Purasawalkam, C.R.C. High School, and the Christian College High School Narayan was an avid reader, and his early literary diet included Dickens, Wodehouse, Arthur Conan Doyle and Thomas Hardy. When he was twelve years old, Narayan participated in a pro-independence march, for which he was reprimanded by his uncle; the family was apolitical and considered all governments wicked. Narayan moved to Mysore to live with his family when his father was transferred to the Maharajah's Collegiate High School. The well-stocked library at the school, as well as his father's own, fed his reading habit, and he started writing as well. After completing high school, Narayan failed the university entrance examination and spent a year at home reading and writing; he subsequently passed the examination in 1926 and joined Maharaja College of Mysore. It took Narayan four years to obtain his Bachelor's degree, a year longer than usual. After being persuaded by a friend that taking a Master's degree (M.A.) would kill his interest in literature, he briefly held a job as a school teacher; however, he quit in protest when the headmaster of the school asked him to substitute for the physical training master. The experience made Narayan realise that the only career for him was in writing, and he decided to stay at home and write novels. His first published work was a book review of Development of Maritime Laws of 17th-Century EnglandSubsequently, he started writing the occasional local interest story for English newspapers and magazines. Although the writing did not pay much (his income for the first year was nine rupees and twelve annas), he had a regular life and few needs, and his family and friends respected and supported his unorthodox choice of career. In 1930, Narayan wrote his first novel, Swami and Friends, an effort ridiculed by his uncle and rejected by a string of publishers With this book, Narayan created Malgudi, a town that creatively reproduced the social sphere of the country; while it ignored the limits imposed by colonial rule, it also grew with the various socio-political changes of British and postindependence India.

Turning point

While vacationing at his sister's house in Coimbatore, in 1933, Narayan met and fell in love with Rajam, a 15-year old girl who lived nearby. Despite many astrological and financial obstacles, Narayan managed to gain permission from the girl's father and married her Following his marriage, Narayan became a reporter for a Madras based paper called The Justice, dedicated to the rights of non-Brahmins. The publishers were thrilled to have a Brahmin Iyer in Narayan espousing their cause. The job brought him in contact with a wide variety of people and issues. Earlier, Narayan had sent the manuscript of Swami and Friends to a friend at Oxford, and about this time, the friend showed the manuscript to Graham Greene. Greene recommended the book to his publisher, and it was finally published in 1935. Greene also counseled Narayan on shortening his name to become more familiar to the English-speaking audience. The book was semiautobiographical and built upon many incidents from his own childhood. Reviews were favourable but sales were few. Narayan's next novel The Bachelor of Arts (1937), was inspired in part by his experiences at college,and dealt with the theme of a rebellious adolescent transitioning to a rather well-adjusted adult; it was published by a different publisher, again at the recommendation of Greene. His third novel, The Dark Room (1938) was about domestic disharmony, showcasing the man as the oppressor and the woman as the victim within a marriage, and was published by yet another publisher; this book also received good reviews. In 1937, Narayan's father died, and Narayan was forced to accept a commission from the government of Mysore as he was not making any money. In his first three books, Narayan highlights the problems with certain socially accepted practices. The first book has Narayan focusing on the plight of students, punishments of caning in the classroom, and the associated shame. The concept of horoscope-matching in Hindu marriages and the emotional toll it levies on the bride and groom is covered in the second book. In the third book, Narayan addresses the concept of a wife putting up with her husband's antics and attitudes. Rajam died of typhoid in 1939 Her death affected Narayan deeply and he remained distressed for a long time; he was also concerned for their daughter Hema, who was only three years old. The bereavement brought about a significant change in his life and was the inspiration behind his next novel, The English Teacher. This book, like his first two books, is autobiographical, but more so, and completes an unintentional thematic trilogy following Swami and Friends and The Bachelor of Arts. In

subsequent interviews, Narayan acknowledges that The English Teacher was almost entirely an autobiography, albeit with different names for the characters and the change of setting in Malgudi; he also explains that the emotions detailed in the book reflected his own at the time of Rajam's death. Bolstered by some of his successes, in 1940 Narayan tried his hand at a journal, Indian Thought. With the help of his uncle, a car salesman, Narayan managed to get more than a thousand subscribers in Madras city alone. However, the venture did not last long due to Narayan's inability to manage it, and it ceased publication within a year. His first collection of short stories, Malgudi Days, was published in November 1942, followed by The English Teacher in 1945. In between, being cut off from England due to the war, Narayan started his own publishing company, naming it (again) Indian Thought Publications; the publishing company was a success and is still active, now managed by his granddaughter. Soon, with a devoted readership stretching from New York to Moscow, Narayan's books started selling well and in 1948 he started building his own house on the outskirts of Mysore; the house was completed in 1953

The busy years

After The English Teacher, Narayan's writings took a more imaginative and creative external style compared to the semi-autobiographical tone of the earlier novels. His next effort, Mr. Sampath, was the first book exhibiting this modified approach. However, it still draws from some of his own experiences, particularly the aspect of starting his own journal; he also makes a marked movement away from his earlier novels by intermixing biographical events Soon after, he published The Financial Expert, considered to be his masterpiece and hailed as one of the most original works of fiction in 1951. The inspiration for the novel was a true story about a financial genius, Margayya, related to him by his brother. The next novel, Waiting for the Mahatma, loosely based on a fictional visit to Malgudi by Mahatma Gandhi, deals with the protagonist's romantic feelings for a woman, when he attends the discourses of the visiting Mahatma. The woman, named Bharti, is a loose parody of Bharati, the personification of India and the focus of Gandhi's discourses. While the novel includes significant references to the Indian independence movement, the focus is on the life of the ordinary individual, narrated with Narayan's usual dose of irony.

Lyle Blair of Michigan State University Press (Narayan's U.S. publisher), Narayan and Anthony West of The New Yorker In 1953, his works were published in the United States for the first time, by Michigan State University Press, who later (in 1958), relinquished the rights to Viking Press. While Narayan's writings often bring out the anomalies in social structures and views, he was himself a traditionalist; in February 1956, Narayan arranged his daughter's wedding following all orthodox Hindu rituals. After the wedding, Narayan began travelling occasionally, continuing to write at least 1500 words a day even while on the road The Guide was written while he was visiting the United States in 1956 on the Rockefeller Fellowship. While in the U.S., Narayan maintained a daily journal that was to later serve as the foundation for his book My Dateless Diary. Around this time, on a visit to England, Narayan met his friend and mentor Graham Greene for the first time. On his return to India, The Guide was published; the book is the most representative of Narayan's writing skills and elements, ambivalent in expression, coupled with a riddle-like conclusion The book won him the Sahitya Akademi Award in 1958. Occasionally, Narayan was known to give form to his thoughts by way of essays, some published in newspapers and journals, others not. Next Sunday (1960), was a collection of such conversational essays, and his first work to be published as a book. Soon after that, My Dateless Diary, describing experiences from his 1956 visit to the United States, was published. Also included in this collection was an essay about the writing of The Guide. Narayan's next novel, The Man-Eater of Malgudi, was published in 1961. The book was reviewed as having a narrative that is a classical art form of comedy, with delicate control. After the launch of this book, the restless Narayan once again took to travelling, and visited the U.S. and Australia. He spent three weeks in Adelaide, Sydney and Melbourne giving lectures on Indian literature. The trip was funded by a fellowship from the Australian Writers' Group. By this time Narayan had also achieved significant success, both literary and financial. He had a large house in Mysore, and wrote in a

study with no fewer than eight windows; he drove a new Mercedes-Benz, a luxury in India at that time, to visit his daughter who had moved to Coimbatore after her marriage. With his success, both within India and abroad, Narayan started writing columns for magazines and newspapers including The Hindu and The Atlantic. In 1964, Narayan published his first mythological work, Gods, Demons and Others, a collection of rewritten and translated short stories from Hindu epics. Like many of his other works, this book was illustrated by his younger brother R. K. Laxman. The stories included were a selective list, chosen on the basis of powerful protagonists, so that the impact would be lasting, irrespective of the reader's contextual knowledge. Once again, after the book launch, Narayan took to travelling abroad. In an earlier essay, he had written about the Americans wanting to understand spirituality from him, and during this visit, Swedish-American actress Greta Garbo accosted him on the topic, despite his denial of any knowledge. Narayan's next published work was the 1967 novel, The Vendor of Sweets. It was inspired in part by his American visits and consists of extreme characterizations of both the Indian and American stereotypes, drawing on the many cultural differences. However, while it displays his characteristic comedy and narrative, the book was reviewed as lacking in depth. This year, Narayan travelled to England, where he received the first of his honorary doctorates from the University of Leeds. The next few years were a quiet period for him. He published his next book, a collection of short stories, A Horse and Two Goats, in 1970. Meanwhile, Narayan remembered a promise made to his dying uncle in 1938, and started translating the Kamba Ramayanam to English. The Ramayana was published in 1973, after five years of work. Almost immediately after publishing The Ramayana, Narayan started working on a condensed translation of the Sanskrit epic, the Mahabharata. While he was researching and writing the epic, he also published another book, The Painter of Signs (1977). The Painter of Signs is a bit longer than a novella and makes a marked change from Narayan's other works, as he deals with hitherto unaddressed subjects such as sex, although the development of the protagonist's character is very similar to his earlier creations. The Mahabharata was published in 1978.

The later years

Narayan was commissioned by the government of Karnataka to write a book to promote tourism in the state. The work was published as part of a larger government publication in the late 1970s. He thought it deserved better, and republished it as The Emerald Route (Indian Thought Publications, 1980) The book contains his personal perspective on the local history and heritage, but being bereft of his characters and creations, it misses his enjoyable narrative The same year, he was elected as an honorary member of the American Academy of Arts and Letters and won the AC Benson Medal from the Royal Society of Literature. Around the same time, Narayan's works were translated to Chinese for the first time. In 1983, Narayan published his next novel, A Tiger for Malgudi, about a tiger and its relationship with humans. His next novel, Talkative Man, published in 1986, was the tale of an aspiring journalist from Malgudi During this time, he also published two collections of short stories: Malgudi Days (1982), a revised edition including the original book and some other stories, and Under the Banyan Tree and Other Stories, a new collection. In 1987, he completed A Writer's Nightmare, another collection of essays about topics as diverse as the caste system, Nobel prize winners, love, and monkeys. The collection included essays he had written for newspapers and magazines since 1958. Living alone in Mysore, Narayan developed an interest in agriculture. He bought an acre of agricultural land and tried his hand at farming. He was also prone to walking to the market every afternoon, not so much for buying things, but to interact with the people. In a typical afternoon stroll, he would stop every few steps to greet and converse with shopkeepers and others, most likely gathering material for his next book. In 1980, Narayan was nominated to the Rajya Sabha, the upper house of the Indian Parliament, for his contributions to literature. During his entire sixyear term, he was focused on one issuethe plight of school children, especially the heavy load of school books and the negative effect of the system on a child's creativity, which was something that he first highlighted in his debut novel, Swami and Friends. His inaugural speech was focused on this particular problem, and resulted in the formation of a committee chaired by Prof. Yash Pal, to recommend changes to the school educational system In 1990, he published his next novel, The World of Nagaraj, also set in Malgudi. Narayan's age shows in this work as he appears to skip narrative

details that he would have included if this were written earlier in his career Soon after he finished the novel, Narayan fell ill and moved to Madras to be close to his daughter's family. A few years after his move, in 1994, his daughter died of cancer and his granddaughter Bhuvaneswari (Minnie) started taking care of him in addition to managing Indian Thought Publications. Narayan then published his final book, Grandmother's Tale. The book is an autobiographical novella, about his great-grandmother who travelled far and wide to find her husband, who ran away shortly after their marriage. The story was narrated to him by his grandmother, when he was a child. During his final years, Narayan, ever fond of conversation, would spend almost every evening with N. Ram, the publisher of The Hindu, drinking coffee and talking about various topics until well past midnight. Despite his fondness of meeting and talking to people, he stopped giving interviews. The apathy towards interviews was the result of an interview with Time, after which Narayan had to spend a few days in the hospital, as he was dragged around the city to take photographs that were never used in the article. In May 2001, Narayan was hospitalised. A few hours before he was to be put on a ventilator, he was planning on writing his next novel, a story about a grandfather. As he was always very selective about his choice of notebooks, he asked N. Ram to get him one. However, Narayan did not get better and never started the novel. He died on May 13, 2001, in Chennai at the age of 94.

Literary review
Writing style

Narayan's writing style was simple and unpretentious with a natural element of humour about it. It focused on ordinary people, reminding the reader of next-door neighbours, cousins and the like, thereby providing a greater ability to relate to the topic. Unlike his national contemporaries, he was able to write about the intricacies of Indian society without having to modify his characteristic simplicity to conform to trends and fashions in fiction writing He also employed the use of nuanced dialogic prose with gentle Tamil overtones based on the nature of his characters. Critics have considered Narayan to be the Indian Chekhov, due to the similarities in their writings,

the simplicity and the gentle beauty and humour in tragic situations. Greene considered Narayan to be more similar to Chekhov than any Indian writer. Anthony West of The New Yorker considered Narayan's writings to be of the realism variety of Nikolai Gogol. According to Pulitzer Prize winner Jhumpa Lahiri, Narayan's short stories have the same captivating feeling as his novels, with most of them less than ten pages long, and taking about as many minutes to read. She adds that between the title sentence and the end, Narayan provides the reader something novelists struggle to achieve in hundreds more pages: a complete insight to the lives of his characters. These characteristics and abilities led Lahiri to classify him as belonging to the pantheon of short-story geniuses that include O. Henry, Frank O'Connor and Flannery O'Connor. Lahiri also compares him to Guy de Maupassant for their ability to compress the narrative without losing the story, and the common themes of middle-class life written with an unyielding and unpitying vision. Critics have noted that Narayan's writings tend to be more descriptive and less analytical; the objective style, rooted in a detached spirit, providing for a more authentic and realistic narration. His attitude, coupled with his perception of life, provided a unique ability to fuse characters and actions and an ability to use ordinary events to create a connection in the mind of the reader A significant contributor to his writing style was his creation of Malgudi, a stereotypical small town, where the standard norms of superstition and tradition apply. Narayan's writing style was often compared to that of William Faulkner since both their works brought out the humour and energy of ordinary life while diplaying compassionate humanism. The similarities also extended to their juxtaposing of the demands of society against the confusions of individualityAlthough their approach to subjects was similar, their methods were different; Faulkner was rhetorical and illustrated his points with immense prose while Narayan was very simple and realistic, capturing the elements all the same. Malgudi Main article: Malgudi Malgudi is a fictional, semi-urban town in southern India, conjured by Narayan. He created the town in September 1930, on Vijayadashami, an

auspicious day to start new efforts and thus chosen for him by his grandmother. As he mentioned in a later interview to his biographers Susan and N. Ram, in his mind, he first saw a railway station, and slowly the name Malgudi came to him The town was created with an impeccable historical record, dating to the Ramayana days when it was noted that Lord Rama passed through; it was also said that the Buddha visited the town during his travels. While Narayan never provided strict physical constraints for the town, he allowed it to form shape with events in the various stories, becoming a reference point for the future Dr James M. Fennelly, a scholar of Narayan's works, created a map of Malgudi based on the fictional descriptors of the town from the many books and stories. Malgudi evolved with the changing political landscape of India. In the 1980s, when the nationalistic fervor in India dictated the changing of British names of towns and localities and removal of British landmarks, Malgudi's mayor and city council removed the long standing statue of Frederick Lawley, one of Malgudi's early residents. However, when the Historical Societies showed proof that Lawley was strong in his support of the Indian independence movement, the council was forced to undo all their earlier actionsA good comparison to Malgudi, a place that Greene characterised as "more familiar than Battersea or Euston Road", is Faulkner's Yoknapatawpha County. Also, like Faulkner's, when one looks at Narayan's works, the town gets a better definition through the many different novels and stories.

Critical reception
Narayan first broke through with the help of Graham Greene who, upon reading Swaminathan and Tate, took it upon himself to work as Narayan's agent for the book. He was also instrumental in changing the title to the more appropriate Swami and Friends, and in finding publishers for Narayan's next few books. While Narayan's early works were not exactly commercial successes, other authors of the time began to notice him. Somerset Maugham, on a trip to Mysore in 1938, had asked to meet Narayan, but not enough people had heard of him to actually effect the meeting. Maugham subsequently read Narayan's The Dark Room, and wrote to him expressing his admiration. Another contemporary writer who took a liking to Narayan's early works was E. M. Forster, an author who shared his dry and humorous narrative, so much so that Narayan was labeled the "South Indian E. M. Forster" by criticsDespite his popularity with the

reading public and fellow writers, Narayan's work has not received the same amount of critical exploration accorded to other writers of his stature. Narayan's success in the United States came a little later, when Michigan State University Press started publishing his books. His first visit to the country was on a fellowship from the Rockefeller Foundation, and he lectured at various universities including Michigan State University and University of California, Berkeley. Around this time, John Updike noticed his work and compared Narayan to Charles Dickens. In a review of Narayan's works published in The New Yorker, Updike called him a writer of a vanishing breedthe writer as a citizen; one who identifies completely with his subjects and with a belief in the significance of humanity Having published many novels, essays and short stories, Narayan is credited with bringing Indian writing to the rest of the world. While he has been regarded as one of India's greatest writers of the twentieth century, critics have also described his writings with adjectives such as charming, harmless and benign Narayan has also come in for criticism from later writers, particularly of Indian origin, who have classed his writings as having a pedestrian style with a shallow vocabulary and a narrow vision. According to Shashi Tharoor, Narayan's subjects are similar to those of Jane Austen as they both deal with a very small section of society. However, he adds that while Austen's prose was able to take those subjects beyond ordinariness, Narayan's was not A similar opinion is held by Shashi Deshpande who characterizes Narayan's writings as pedestrian and naive because of the simplicity of his language and diction, combined with the lack of any complexity in the emotions and behaviours of his characters. A general perception on Narayan was that he did not involve himself or his writings with the politics or problems of India, as mentioned by V. S. Naipaul in one of his columns. However, according to Wyatt Mason of The New Yorker, although Narayan's writings seem simple and display a lack of interest in politics, he delivers his narrative with an artful and deceptive technique when dealing with such subjects and does not entirely avoid them, rather letting the words play in the reader's mind. Srinivasa Iyengar, former vice-chancellor of Andhra University, says that Narayan wrote about political topics only in the context of his subjects, quite unlike his compatriot Mulk Raj Anand who dealt with the political structures and problems of the time. Paul Brians, in his book Modern South Asian Literature in English, says that the fact that Narayan completely ignored

British rule and focused on the private lives of his characters is a political statement on its own, declaring his independence from the influence of colonialism In the west, Narayan's simplicity of writing was well received. One of his biographers, William Walsh, wrote of his narrative as a comedic art with an inclusive vision informed by the transience and illusion of human action. Multiple Booker nominee Anita Desai classes his writings as "compassionate realism" where the cardinal sins are unkindness and immodesty. According to Wyatt Mason, in Narayan's works, the individual is not a private entity, but rather a public one and this concept is an innovation that can be called his own. In addition to his early works being among the most important English-language fiction from India, with this innovation, he provided his western readers the first works in English to be infused with an eastern and Hindu existential perspective. Mason also holds the view that Edmund Wilson's assessment of Walt Whitman, "He does not write editorials on events but describes his actual feelings", applies equally to Narayan.

The ordeal
Rajam died of typhoid in 1939. At the time of her death, their only child, a daughter Hemalatha, was three years old; Narayan remained distressed for a long time, out of grief and concerns of single parenthood. The bereavement brought about a significant change in his life and was the inspiration behind his novel, The English Teacher. This book like the first two book, is more autobiographical, but more so, and completes an unintentional thematic trilogy following Swami and Friends and The Bachelor of Arts. Bolstered by some of his successes, in 1940, Narayan tried his hand at a journal, Indian Thought; with the help of his uncle, a car salesman, he managed to get more than a thousand subscribers in Madras alone; however, the venture didn't last long due to Narayan's inability to manage it, and ceased publication within a year. His first collection of short stories, Malgudi Days, was published in November 1942, and The English Teacher in 1945. Inbetween, in 1942, being cut off from England due to the war, Narayan started his own publishing company, naming it (again), Indian Thought Publications; the publishing company was a success and is still active, managed by his grand daughter. Narayan had also found recurring success,

with a devoted readership stretching from New York to Moscow. In 1948, he started building his own house on the outskirts of Mysore, which took five years to finish. He arranged his daughter's wedding in 1956, and began travelling occasionally, continuing to write at least 1500 words a day even when travelling. The Guide was written in 1958 while in the United States. Its popularity led to a film produced by Dev Anand, but Narayan was dismayed by its treatment and received no profits from it.

Awards and honours

Narayan won numerous awards during the course of his literary careerHis first major award was in 1958, the Sahitya Akademi Award for The Guide. When the book was made into a film, he received the Filmfare Award for the best story. In 1964, he received the Padma Bhushan during the Republic Day honours. In 1980, he was awarded the AC Benson Medal by the (British) Royal Society of Literature, of which he was an honorary member. In 1982 he was elected an honorary member of the American Academy of Arts and Letters. He was nominated for the Nobel Prize in Literature multiple times, but never won the honour Recognition also came in the form of honorary doctorates by the University of Leeds (1967), the University of Mysore (1976) and Delhi University (1973)Towards the end of his career, Narayan was nominated to the upper house of the Indian Parliament for a six-year term starting in 1989, for his contributions to Indian literature. A year before his death, in 2001, he was awarded India's second-highest civilian honour, the Padma Vibhushan.

Legacy
Narayan's greatest achievement was making India accessible to the outside world through his literature. He is regarded as one of the three leading English language Indian fiction writers, along with Raja Rao and Mulk Raj Anand. He gave his readers something to look forward to with Malgudi and its residentsand is considered to be one of the best novelists India has ever produced. He brought small-town India to his audience in a manner that was both believable and experiential. Malgudi was not just a fictional town in

India, but one teeming with characters, each with their own idiosyncrasies and attitudes, making the situation as familiar to the reader as if it were their own backyard. Whom next shall I meet in Malgudi? That is the thought that comes to me when I close a novel of Mr Narayan's. I do not wait for another novel. I wait to go out of my door into those loved and shabby streets and see with excitement and a certainty of pleasure a stranger approaching, past the bank, the cinema, the haircutting saloon, a stranger who will greet me I know with some unexpected and revealing phrase that will open a door on to yet another human existence. Graham Greene[

List of works Novels

Swami and Friends (1935, Hamish Hamilton) The Bachelor of Arts (1937, Thomas Nelson) The Dark Room (1938, Eyre) The English Teacher (1945, Eyre) Mr. Sampath (1948, Eyre) The Financial Expert (1952, Methuen) Waiting for the Mahatma (1955, Methuen) The Guide (1958, Methuen) The Man-Eater of Malgudi (1961, Viking) The Vendor of Sweets (1967, The Bodley Head) The Painter of Signs (1977, Heinemann) A Tiger for Malgudi (1983, Heinemann) Talkative Man (1986, Heinemann) The World of Nagaraj (1990, Heinemann) Grandmother's Tale (1992, Indian Thought Publications)

Non-fiction

Next Sunday (1960, Indian Thought Publications) My Dateless Diary (1960, Indian Thought Publications) My Days (1974, Viking) Reluctant Guru (1974, Orient Paperbacks) The Emerald Route (1980, Indian Thought Publications)

A Writer's Nightmare (1988, Penguin Books)

Mythology

Gods, Demons and Others (1964, Viking) The Ramayana (1973, Chatto & Windus) The Mahabharata (1978, Heinemann)

Short story collections

Malgudi Days (1942, Indian Thought Publications) An Astrologer's Day and Other Stories (1947, Indian Thought Publications) Lawley Road and Other Stories (1956, Indian Thought Publications) A Horse and Two Goats (1970) Under the Banyan Tree and Other Stories (1985) The Grandmother's Tale and Selected Stories (1994, Viking)

Adaptations
Narayan's book The Guide was adapted to film as Guide, a Hindi movie directed by Vijay Anand. An English language version was also released. Narayan was not happy with the way the film was made and its deviation from the book; he wrote a column in Life magazine, "The Misguided Guide," criticising the film The book was also adapted to a Broadway play by Harvey Breit and Patricia Rinehart, and was staged at Hudson Theatre in 1968 with Zia Mohyeddin playing the lead role and a music score by Ravi Shankar.

R. K. Narayan's Vision of Life

For R. K. Narayan, death is not a full stop. As he states in The English Teacher, it is more of a comma, with each hiatus leading to the birth of a new identity which replaces the previous one. But the western concept of identity as a mask is against Narayan's oriental philosophy. His protagonists do not merely play one role after the other, they live out one existence, which is not a performance but pure reality. As a Spectator review once put it, his success lies in portraying the 'extra-ordinary ordinariness' of day-today life.

Those who try to find existentialism, nihilism, magic realism, and all other kinds of 'ism' in Narayan's works will be disappointed, since western concepts have little to do with his vision of life. As a detailed reading shows, Narayan is steeped in Hindu philosophy, and though he discards many of its notions, he assimilates the basic truths. As he says in The English Teacher: My knowledge of past, present and future strictly pertain to this life. Beyond that I have nothing to say, because I believe I shall once again be resolved into the five elements of which I am composed: and my intelligence and memory may not be more than what we see in air and water! This view rules out the possibility of Narayan supporting the theory of Karma, but at the same time it is not a statement supporting the Epicurean theory of 'carpe diem' or 'seize the day'. Our deeds in this life will have repercussions in this life only, and through the realisation of our follies and delusions comes wisdom. He believes in making our faculties and experiences useful in this life, rather than accumulating them for an afterlife. Narayan's view is that wisdom is not gained through meditation, or by spiritual contemplation, but by going through the experiences that life has to offer. Raju in The Guide has an ordinary childhood, an extra-ordinary love affair, a parasitic life which extends to his term in jail. In plain and simple words, Narayan portrays a normal Indian man in different circumstances. I find no similarities between Raju and existential characters such as Mersault in Albert Camus's The Outsider. What happens to Raju has something in common with what happens to Savitri in The Dark Room when she tries to commit suicide after being driven out by her husband, to the headmaster in The English Teacher when he does not die on the day an astrologer predicted that he would, to Jagan in The Vendor of Sweets when his son Mali violates all his notions of life, and to Chandran in The Bachelor of Arts when he renounces everything and becomes a sanyasi. They all die a death, but this death is not an end but the starting point of a new life. As Narayan says about Chandran when he becomes a sanyasi because he couldn't marry a young girl called Malathi: Others may renounce with a spiritual motive or purpose . . . But Chandran's renunciation was nothing of that kind. It was an alternative to suicide.

Through this symbolic death, however, emerges a Chandran who realises that he had been 'humbugging through life' and comes back to the mainstream, a thoroughly changed man. The ending of The Guide leaves us an unresolved problem. Does Raju die at the end of the novel? My reading of Narayan tells me no. For the first time Raju has done something without any profit for himself, and the moment he has accomplished this selfless task he has renounced his previous life. Hence we are witnessing his rebirth, not death, and this is reinforced by the image of Raju as a baby. Like a phoenix, Raju annihilates the past and recreates himself. Similarly, after her failed attempt at suicide, Savitri could be said to experience rebirth. She almost settles down to a new life, but has to go back to her previous existence since very strong bonds exist between her and her married life, especially in the form of her children. For Raju, the headmaster and Jagan, life has been renewed, as is evident in Jagan's statement near the end of the novel: I am a free man. But for Savitri, being a woman makes it impossible for her attain this freedom. Throughout The Dark Room Narayan portrays the helplessness of Indian women. Throughout his work Narayan focuses how unique experiences change our vision of life. Raju's meeting with Rosie and his subsequent term in jail, Krishnan's sense of loss at the death of his wife Sushila, Jagan's clash of ideals with his son Mali, Chandran's infatuation for Malathi and his consequent sanyas, all change their perspective of life. Life to Narayan is the greatest teacher. The headmaster in The English Teacher tells us: You may treat me as dead or as one who has taken Sanyasa Ashrama. Jagan in The Vendor of Sweets, showing a similarity with Raju, says: At some stage in one's life one must uproot oneself from the accustomed surroundings and disappear.

These statements also support my view that most of Narayan's characters are in quest of inner peace and freedom from the collective. Krishna tells us in The English Teacher, on his day of retirement: Let me assure you I'm retiring, not with a feeling of sacrifice for a national cause, but for a very selfish purpose. I'm seeking a great inner peace. This freedom, however, does not make them selfish. This is almost the Hinayana form of Buddhism where the salvation of the self is followed by the salvation of others. Raju's penance is for the greater common good, just as are the headmaster's and Krishna's. And The Vendor of Sweets ends with Jagan's statement that he will look after Grace, as is evident in his words, 'It's a duty we owe her.' Instead of looking for threads of Existentialism, Narayan's characters can be analysed in the light of the Buddhist concept of Nirvana. Nirvana is a state of utter extinction, not of existence, but of passions and suffering; it is a state beyond the chain of causation (in the case of Raju), a state of freedom (Jagan). It is in addition a state of bliss (the headmaster). It is the truth of utter selflessness and insubstantiality of things, of the emptiness of the ego, and of the impermanence of all things. With the realization of this truth, ignorance is destroyed, and, consequently, all craving, suffering, and hatred is destroyed with it (Chandran) Narayan states his law of life in The English Teacher: The law of life can't be avoided. The law comes into operation the moment we detach ourselves from our mother's womb. All struggle and misery in life is due to our attempt to arrest this law or get away from it or in allowing ourselves to be hurt by it. A profound unmitigated loneliness is the only truth of life. This view is complimented in The Vendor of Sweets: We are blinded by our attachments. Every attachment creates a delusion and we are carried away by it. Raju, Chandran, Krishna, and Jagan all try to escape from this law by clinging to various kinds of attachment, be it love for a woman, or for one's son but realisation does eventually come to them .

NOVELS
A novel is a book of long narrative in literary prose. The genre has historical roots both in the fields of the medieval and early modern romance and in the tradition of the novella. The latter supplied the present generic term in the late 18th century. There are three possible points of emphasis in prose fiction. Each point can be emphasized in either a long or a short narrative. Point of Emphasis abstract theme plot character Short Form fable anecdote short story Long Form allegory romance novel

As you can see from the above table, the novel is one form of an extended fictional prose narrative. It differs from allegory (which functions to teach some sort of moral lesson) and romance (with its emphasis on spectacular and exciting events designed to entertain) in its emphasis on character development. The novel, however, arises from the desire to depict and interpret human character. The reader of a novel is both entertained and aided in a deeper perception of life's problems.

THE NOVELS OF RK NARAYAN The Dark Room Synopsis:The Dark Room by R.K.Narayan is a work of literature that was first published in Great Britain in 1938. This piece was not autobiographical as his two previous books. More specifically it was with a feminist view of middle-class family life in South India. It was published on October 11, 1938. This book also received good reviews from Western writers. In this story Narayan reflects on the uselessness of life and the helplessness of his protagonist Savitri. He tries to fill each scene with undertones of as

many changes as there are aspects to human nature. This novel is full of different feelings of life like hypocrisy, deception, kindness and desperation. All of these are present in their full glory with colourful as well as shades of the characters. It also includes their morality and their situations. The central character or protagonist of this story, The Dark Room is Savitri, married to Ramani. R.K. Narayan portrays that being a submissive housewife she gives birth to three children. Her husband always dominates her and whenever his tortures become unbearable to her she retires in a dark room in their house. As the story progressed in certain distance her husband got engaged with another woman and in order to set up her place he shifted many of their furniture from home. These include one of her favorite furniture also. While shocked by the news of his relation Savitri tries to win back her husband but cannot do so because of Ramani`s adamant nature. During the course one day she fights back and leaves home without thinking anything. This tragedy of domestic life gets a clear vision in Narayan`s write-up. The Dark Room is published by University of Chicago Press in USA and by William Heinemann Ltd in UK edition. Published by Vintage, Minerva and Mandarin this story has beautifully crafted the marital saga of a couple interlarded with conservatism along with the dawn of reformist`s ideas. The story entails the tale of a tormented wife. The Dark Room is a superb examination of a patriarchal Society and also reflects the injustices that this type of society causes to woman and children. This is regarded as an impressive as well as controlled novel, which eventually moves and hits the society. THE VENDOR OF SWEETS Synopsis

R. K. Narayan`s books are always famous for wonderful details and intricate view of the South Indian world. `The Vendor Of Sweets` is not an exception. It also fits into this mould in a beautiful manner. In this novel the central character is Jagan. The story revolves around him, his ideologies, him sweet shop, his son Mali, his cousin Narasimha, etc. He is the vendor of sweets here. His trials and tribulations of his life are wonderfully captured in this story. There is clear description of his thoughts, his confusion about the next generation. And his confusion as well as conventional thought gets a huge jerks when his son Mali goes to America and return with his foreigner wife. Jagan starts feeling irritated all the time because of his son`s activity. But subsequently Jagan develops affection for his foreigner daughter-in-law. He notices that Mali, his son, is not paying full attention to his wife. Jagan gets scared as he did the same mistake with Mali`s mother because of his involvement in freedom struggle movement. Jagan tries to talk to Mali but he denies. Mali needs some money for his business but Jagan refused to lend him. As a result some friction takes place and Jagan starts living isolated in his own family. The story turns to an ending point when Jagan develops some urge to leave the worldly affairs and do some religious work. At that very moment he is informed that Mali is in police custody and also has left his wife. Jagan gets shuttered. He refuses to help his son but instructs Narsimha to help Mali`s wife to return to her homeland. Being published by Viking Press, Penguin Classics, Indian thought Publication, penguin Books Ltd., Avon Books, and Heinemann `the vendor of sweets` reflects the ideas and ideals of the difference in two generations which really enthralled the readers and makes them to think of this bigger problem. `The Vendor of Sweets` story revolves around the issues arises from this gap and finally the senior generation deserts his profession and his family concerns for a life of tranquility and meditation.

THE GUIDE

The Guide Characters

Raju is a splendidly realized character. Not given to thought, drifting in and out of situations, and until the last stage of his life ruled by an individualistic spirit which carries him away from family, friends, and morality, he will ultimately learn what it is to act responsibly. But even when he is selfish and full of guile, he is immensely likable, especially because he wants to please other people as much as he can. Except for forging Rosie's signature on a truly reprehensible impulse, he never strikes readers as a wicked character. And although he deludes others as well as himself from time to time, he likes to see things grow and tries to help people achieve their ambitions.

The Guide Techniques

Narayan is not usually given to elaborate technical experiments or overt display of his artistic skills, but The Guide is one of his few works that draws attention to itself because of its somewhat unusual narrative method.

In telling Rajas story, Narayan alternates third-person and first-person narration and uses such cinematic techniques as flashbacks and jump cuts. When we first encounter Raju, he is about to meet Velan, and he is seen at this point from the perspective of an omniscient narrator. Then Raju takes over the narrative chores and relates his progress from sweetmeat seller to jailbird to Velan. In between, the omniscient narrator punctuates Raju's narrative by showing him dealing with the villagers as a holy man. At the end, Raju ceases to be a narrator as he loses his hold on his consciousness. The omniscient narrator concludes the story, showing us a Raju who is

The Guide Social Concerns/Themes

Preview of The Guide Summary: Widely considered to be Narayan's best book, The Guide is the story of Raju, a scamp who ends up becoming a saint. For most of his life Raju had managed to manipulate other people's emotional needs for his own advantage, but the novel shows him going beyond himself to do a genuinely disinterested act at the cost of his life. Raju, in other words, dies so that others may live. Raju begins his professional life as the owner of a sweetmeat stall at the railway station in a region of India that has become a popular tourist attraction. He soon discovers that he has a knack for telling people what they would like to hear and becomes a fulltime guide. This profession leads him into an affair with one of his clients, Rosie. She is the wife of Marco, a man who does not really care .