An Analysis of Salman Rushdie’S Novels

Salman Rushdie, a Bombay conceived and London based author, was conceived in a Muslim family on 19 June 1947 in Bombay. He has composed ten books, two gatherings of short stories, numerous literary works surveys and s and two documentary movies. He is a beneficiary of numerous honors plus „booker of Bookers‟. Salman Rushdie is known as "The devil ruler of Indian English literature.” Rushdie is a part of the guard harvest of Indian Writing in English: "One could barely can't help contradicting Rushdie that on the guide of planet literature‟, too, India has been undersized quite long enough, yet a guard product of composing in English has risen up out of the non-majestic postcolonial societies, particularly from India." Rushdie’s books manage numerous topics like history, legislative issues, love, disgrace, religion, outcast and rootlessness. "Rushdie’s work is so specific, as far as topic, topics, setting, narrating apparatuses and formal literary technique that nobody however he can talk in his tongue." Rushdie has been affected by a few journalists from English literary works. This is not abnormal, since impact on one journalist by different is not another thing in the realm of English literary works. Father of English and English lyric Chaucer was additionally affected by Boccaccio. The incredible screenwriter Shakespeare took numerous of his thoughts from others. "Be that as it may a significant part of the written work is clearly not his and as it appears feasible that the origination and development of the entire catastrophe may as well additionally be ascribed to some scholar." In this way, in the same way, Salman Rushdie is abundantly affected by some different journalists in addition to Shakespeare. He was affected by G.V. Desani, Gunter Grass and Shakespeare, a large portion of all. His subjects are additionally affected by these journalists. "Rushdie joins authenticity and dream, and, for instance South American writers Gabrial Garcia Marquez and Jorge Luis Borges, he roundly caricaturizes the legislative issues and social order of the nation in which every novel is set." About the association of a few renowned worldwide books and scholars in Rushdie’s fiction Damian Grant composes, "These impacts incorporate, it must be said, the Bible and the Koran, the Indian legends, Sufi writings, Virgil, Dante, Shakespeare, Black, dickens, Bulgokov, Beckett, and, of course Joyce himself." Salman Rushdie's expositions on literary works and relocation are undoubtedly the most ideal way to approach his composition, to grasp the actuality he is communicating through his written work. A actuality which is never static, however always showing signs of change, with ties that connection the transient journalist to diverse planets, however may not permit him to be part of any of them, where old and new meet and coincide, and where mistrust is most likely the main sureness. Salman Rushdie is the creator who initiated the field of postcolonial diasporas with his introduction novel Grimus, which was an analysis to show the situation of irritation and estrangement. The story bargains with interminability, produced planets, surreal things, different extensions both inner part and outside, and Fluttering Eagle, an Axona Indian, is segregated from the social order as a result of his fairer appearance. His mother died only after few minutes of his entry in this mortal planet. His sister Bird Dog shielded him and offered him with the planning of wearisome life and after that, she dissipates mystifyingly from the physical of the Axona. Fluttering outcasts from his individuals, and mooches the planet for a long time in hunt of his sister and his character and in this mission, in the wake of meandering for 777 years 7 months and 7 days; he falls through the fleapit in the Mediterranean Sea. In view of his interminability, he arrives in a proportional measurement at the supernatural Calf Island. Individuals of this island are sanctified with eternality yet tired of the dullness of life. In any case, they are reluctant in surrendering their everlasting life and happen in a stagnant group under an understated and frightening power. In the inquiry of his character Flapping is weary of the everyday actuality of interminability henceforth needs to dispose of the Grimus impact. The novel obviously shows that transients have no fate, not on Mortal Island or on unfading one. They could meander wherever they wish yet without having their heart with them. Midnight's Children, his tour de power, cleared the way for postcolonial expositive expression in India. Rushdie started to decolonize English from the English and his programme is still in facilitation by him and from others. Like Salman Rushdie, the hero Saleem Sinai meanders around three nations i.e. India, Pakistan and Bangladesh yet is unable to discover a legitimate place to live in. Midnight's Children is a story of relocation and rootlessness that is created by migration.

The perplexing theoretical universe of Rushdie may be unpacked and profoundly grasped on account of the theoretical reconciliation hypothesis. Recollect, for instance, the twofold degree joining (Turner 2007), the most propelled manifestation of theoretical reconciliation, which incorporates altogether different include spaces, a mix incorporating characteristics from both inputs, and a new structure in the mix. Turner (2007) expects that solid distinctions in the inputs permit the production of "rich crashes" and so remarkably imaginative mixes. This appears to be truly pertinent to Rushdie's novel (2005), where social furthermore theoretical crashes make imaginative and novel mixes at some levels (cf. 5-6-7 beneath). At the same time, we will see how picture compositions and mental spaces can offer a deeper flash into Rushdie's semantic decisions and the cognitive planet behind them. investigation. Case in point, take the thought of hybridity, which is interfaced to the uncertain position of the self in a postcolonial actuality both in metaphorical and exacting sense, and connected with the idea of in-between (McLeod 2000), or living in the middle of countries, societies, dialects et cetera. Hybridity stands for a plural vision of actuality, which is not delimited by sharp outskirts, yet seems fragmented, unsteady, fluffy, accordingly being associated with untraditional spaces of inventiveness. A standout amongst the most imperative postcolonial theorist, Homi Bhabha, in a meeting (Rutherford 1990: 207-221), implying postcolonial innovative spaces, discusses a third space, that is a region of arrangement of significances and of representation. This third space helps us to remember the mix, as portrayed above, which puts forth a rising structure also characteristics taken from both enter spaces. A second case of a conceivable association between cognitive semantic methodology and the postcolonial speculation lies in the significance of illustration. The extent that the cognitive methodology (Gibbs 1994; Turner 1996; Fauconnier & Turner 2008) is concerned, representation in both its semantic and calculated partners is available in our dialect in customary shapes, and over and over changed into new shapes. The works of the Indo-English journalist, Salman Rushdie, are rich materials for comprehension how representation could be pervasive at distinctive levels and it is so essential to acknowledge illustration not as a insignificant semantic or wonderful mechanism. Illustration development has a specific essentialness in Rushdie's fiction, since allegorical transpositions permit legitimate realities to come to be literary characters, places and occasions at distinctive levels of the content development. Additionally, in Rushdie's literary preparation profound consideration is paid to illustrations which turn into an ideal model for comprehension and discussing actuality with all its social presuppositions. For example, Sanga (2001) proposes a blend of Rushdie's literary planet dependent upon five crux analogies (relocation, interpretation, hybridity, obsceneness and globalization), which turn to be a suitable system for analyzing the points and the formal characteristics of his books. Around the similitude proposed by Sanga (2001), relocation and interpretation must be recognized repeating topics inside postcolonial literary works and constitute undoubtedly the most dynamite illustrations in Rushdie's account planet. This is focused on likewise by Gane (2006), who discusses the interpretation techniques in an additional novel by Rushdie, Midnight's Children (1981). In this novel, interpretation seems through the picture of a mystery radio, which makes all Indian dialects comprehensible to the alleged midnight's youngsters in a remarkably

social and phonetic spaces, and makes an eminent structure through the three stage model of organization, consummation and elaboration.

The aim of this research is to question the efficacy of historical truth as factual knowledge in the light of Rushdie’s concept of history. This meta-historical text reveals new meanings of history in relation to the postcolonial context. Since history is a man-made activity, and since historical experience and its conclusions varied from one individual to another and from one society to another, the certainty of historical truth is invalid. What we have, then, are different forms of realities, each has its particular truth. According to Rushdie, there are two forms of history: formal, exclusionary, totalitarian history which offers a singular view of the historical events, and polyphonically representational history which provides multiple realities and multidimensional historical truths. Whereas the former relies on the recording of “facts” and dated events, the latter is based on the representation of them. These New Historical speculations constitute the theoretical foundations of this study. The aim of the migrant writer is then “a process of literary renewal” whose objective is “to create a literary language and literary forms in which the experience of formerly colonized, still-disadvantaged peoples might find full expression,” to give “a migrant’s-eye view of the world.”

In the light of this analysis of the novels by Rushdie, it can be seen that both writers use postmodern and metafictional aspects of their novels to subvert the monolithic discourse of history. Rushdie’s Midnight’s Children and Shame, as postcolonial narratives, These postmodernist historical novels by Rushdie should be regarded as texts where a synergy is created through their feminist and postcolonial revisions. The thesis emphasizes the political impulse of both novelists to write the histories of the marginalized and their common attempt to use their postmodernist texts as weapons against the orthodoxies of the patriarchal and colonial discourses.

• Parameswaran, Uma (1988) The Perforated Sheet: Essays on Salman Rushdie’s Art, New Delhi: Affiliated Press.

• Chuang, Kun-Liang (1995) ‘Nation, Migrancy and Identity: the negotiation of a third space in Joyce’s Ulysses, Rushdie’s The Satanic Verses and Kingston’s Tripmaster Monkey’, Unpublished Ph.D Diss., University of California.

• McLeod, John (1995) ‘Rewriting History: postmodern and postcolonial negotiations in the fiction of J. G. Farrell, Timothy Mo, Kazuo Ishiguro and Salman Rushdie’, Unpublished Ph.D Diss., University of Leeds.

• Joel Kuortti. Transnational Literary Slippages and Salman Rushdie’s The Satanic Verses. Transnational Literature Vol. 4 no. 1, November 2011.

• Booker, Keith M., ed. Critical Essays on Salman Rushdie. New York: G.K. Hall, 1999.

• Rushdie, Salman. Imaginary Homelands: Essays and Criticism 1981-1991. London: Granta Books, 1981.

• Ben-Yishai, The Dialectic of Shame: Representation in the Metanarrative of Salman Rushdie’ s “Shame”, in ‹‹Modern Fiction Studies›› 8 (2002), pp. 194-215.

• G. Gane, Postcolonial Literature and the Magic Radio: The Language of Rushdie’s “Midnight’s children”, in ‹‹Poetics Today›› 27 (2006), pp. 569-596

 Uma Parameswaran, “Biographical Highlights.” Salman Rushdie's Early Fiction. (Jaipur : Rawat Public - actions, 2007).

• Cundy, Cathrine. “Contexts and inter texts.” Salman Rushdie. (Manchester : Monchester University Press, 1997).

• Michael Reder, ed. “Interview with Salman Rushdie - Chandrabhanu Pattanayak / 1983.” Conversations with Salman Rushdie. (Jackson: University Press of Mississippi, 2000).

• M. Madhusudhana Rao, “For the Time Being: An Assessment Salman Rushdie's Fiction : A Study (Satanic Verses' Excluded). (New Delhi: Sterling Publishers Private Limited, 1992).

 Herwitz, Daniel & Ashutosh Varshney. Midnight’s Diaspora: Encounters with Salman Rushdie. New Delhi: Penguin Books,2009.