A Study on Literature of Modern Indian English Novels

The modern urban realism in Indian literature has a rather realistic theme, which prioritizes local specifics and mostly emphasizes regional cities such as Patna or Hyderabad instead of major metropolitan centers (i.e., Delhi and Mumbai). The style often tends to involve a discussion of crime, abuse, inequality and open-eyed acknowledgement of liberal Indian hypocrisy (particularly in an era of concentration of wealth and urban slum growth) and double standards in topics such as caste and religious prejudice. A nonfiction novel, Suketu Mehta's Maximum City: Bombay Lost and Found (2004), may be the starting point of the eruption of writing that stressed this theme. This novel, 2005 Pulitzer Prize finalists, was a success both for Western and Indian readers. The ability of Mehta to report specifically on targeted killings ('encounters'), gangsters of Bombay, sex workers, crooked officials, and all Bollywood film stars and producers generated an appetite in this sort of content. Many of our scholars are also involved in the conflict between state repression and different modes of theological radicalization that fuel terrorist activity. In some aspects, the Latest Urban Realism could be the Indian counterpart of "post-9/11 fantasy" in the British and American publications. Finally, it is important to accept that Modern Urban Realism can be used as the way to separate a current wave of writers from what has existed previously; it usually lacks fancy elements such as the ancient mystic realism of Rushdie or the preciousness of Roy's God of Small Stuff (1997). Whereas the 2008 film Slumdog Millionaire adapted speaking of Maximum Area. Intriguingly, although Roy's first book was responsive over the top as a text that recent novelists might condemn, Roy 's newest book, The Ministry of Utmost Happiness (2017), may genuinely be seen as taking part in a kind of urban realism. Booker Prize winner The White Tiger from Aravind Adiga encapsulates the theme for modern urban realism (although it can also be interpreted as a globalization novel). Adiga has a generally nuanced family background that represents his multinational commitment to modern India: he was born in Chennai, raised partly in Australia. For many years he worked as a journalist in India and has claimed that his travels, especially to rural India, inspired him to write The White Tiger. The news playfully uses first-person imagery to trace the progress of a weak, low-caste guy from his humble education to a very rich and influential circumstance in Metropolitan Delhi (and finally the technological center that is today's Bangalore) in a rural part of the "backward State" of Bihar (described in Adiga 's novel as "the Darkness"). Some reviewers also pointed out that Adiga’s approach to self-helps, with its sleek look and its success on American books "get rich easily," may in effect mimic the very marginalization that the novel appears to challenge in rural and deprived parts of Indian society. Though Adiga’s account of modern India's globalization is concise and accurately defined, his accounts of "darkness" are abstract. As Amitava Kumar noted in his book review, nothing of rural Bihar in this novel represents the supposed personal relation between the protagonist and the author. Sanjay Surahhmanyam has also asked the sleight of hand which allowed Adiga to present a narrative written by an individual who, the novel informs us, is not really fluent in English: 'We have to believe—including within the conventions of a realistic novel—that an individual who must work properly in Maithili or Bhojpuri can convey his thoughts smoothly in long. Another line of critique that overlaps with Subrahmanyam may be made about the often-shaky partnership between this novel and narrative realism. Win, in a passage early in the book, Adiga's protagonist Balram Halwai seems strikingly self-aware of his uncomfortably modern India affiliation: « Me and thousands of those in that country like me are half-baked because we could never finish our schooling. Open the heads, peek inside, and you'll discover an amazing exhibition of thoughts. "Several readers have noticed that mentally this first person story is implausible. Perhaps anyone who was 'half-formed' in the manner mentioned above would really be able to understand it and express it in this fashion. Critics such as Sarah Brouillette claimed, though, that the metafictional criticism of the rich-fast genre by The White Tiger will undermine some questions regarding psychological realism. Adiga's Balram Halwai, if anything, is a stereotype built to render a sociopolitical argument regarding the "darker hand" of India: the masses of weak, uneducated peasants, essentially colonized by English-speaking rulers who fly around India's major cities under the dark-haired windows of night, invulnerable by their air-conditioned shells. While the protagonist of Adiga is a clerk, this is a novel about the corruption and precarious power of the dominant class, not of the subordinate. A variety of other authors have come to discuss the latest urban reality alongside Adiga 's novels (the most recent one, Selection Day, [2016]), continue discussing class and community culture, with a pair of cricket players in the Mumbai Slum. In his Hindi short storeys, Uday Prakash is exceptionally sensitive to the real lives of working-class people, mostly invisible to writers of English. For eg, in the short history "Walls of Delhi," his struggling protagonist (2008) states that the city's accelerated gentrification would most definitely trigger his own disappearance: "The weak, the frail, the prophets of the street corner, the humble, the odd – all gone! They have moved away from this new Delhi of riches and magic, never to come back, not here, not anywhere. Another urban realist (in English) from Delhi is Karan Mahajan, whose novels Family Planning (2009) and The Alliance of Tiny Bombs (2016) investigate the social and political problems in the region. Family Planning is a light-hearted news tale that shakes the shattered democratic legacies of Indian government policy (represented by the protagonist's parents — who appear completely incapable of "Family Planning" with thirteen children) and the globalized and cosmopolitan impulses of the youth. The Small Bombings Association is visionary to investigate the implications of a major bombshell bombing on a group of survivors, including a Muslim teen, Mansoor, whose two Hindu friends were murdered in the attack and Deepa and Vikas Khurana, killed children's parents. In a parallel novel, Mahajan follows the viewpoint of the Kashmiri militant Shaukat "Shockie" Guru who bombed the Khurana kids. Shockie is a young man of meagre means inspired more by an urge to take vengeance for past Indian massacres against Kashmiri than by a religious passion. He worries for the ill welfare of his mother and the low salaries he gets from his domestic and international employers. Mahajan is not so skilled in investigating a terrorist's inner psychology; he generally avoids introspection of the human cost of his behavior. Mahajan incorporates blunt yet tragic information of Shockie's ordinary life with the definitive narrative of his attack, which tends to humanize an attacker as (dangerously) an unlikely participant in a chain of abuse. novelists themselves. The strongest might be Salman Rushdie; his fictional homelands lay most of the intellectual basis for the ensuing scholarship and study. Another helpful author who discusses the framing of the India novel after Rushdie is Amit Chaudhuri, his Clearing a Space: Reflections of India, Literature and Modernity, who has rejected the pretense of a national allegory, opens a way of thinking about Indian literature. The two essays on The White Tiger, Amitava Kumar’s essay in the Boston Review, and Sanjay Subrahmanyam's "Dioary" may be a strong introduction to the debate on authenticity in Indian literature after 2000. Of course, these essays are reworking of an earlier essay devoted to authenticity by another author, Vikram Chandra's "The Religion of Authenticity." Whilst in general, severe literary reviews (The New Yorker, New York Review of Books, and London Revisions of Books) are the strongest references to research on Indian literature; several excellent scholarly scholarships have been released in recent years. Mrinalini Chakravarty's In Stereotypes: South Asia in Global Literature Imagination may be a point of departure, "Slumdog or White Tiger? Ulka Anjaria 's extensive anthology, A History of the Indian Novel, is also suggested but only later chapters of that text deal in detail with the topics discussed in the topic (see in particular "Chetan Bhagat: the rebirth of the Indian novel" by Priya Joshi and "Post-Humanitarianism and the Indian Novel in the Spanish edition of Shameem Black"). Paul Brians' Contemporary South Asian literature may be very useful in English for a general introduction to South Asian literature in the late 20th century that is open to undergraduates.

Indian writers in English represent the truth of the Indian realities in the contemporary Indian literary scenario. In the field of literature, they have multiple obligations. They are doing admirably as anthropologists, sociologists, novelists, essayists, travel authors, instructors and as ambassadors of global duty for peace. The literacies of post-colonial and post-modern authors such as Salman Rushdie, Vikram Seth, Vikram Chandra, Sashi Tharoor, Arundhati Roy, etc. are excellent globally. These have been the monumental core socio-literary personalities of significant works that attract global interest. They are still the first leaders to mediate India's main social and cultural issues. Overall, writing novels is one of the most lucrative sectors of the present scenario for earning profits. Postmodern English Indian romances discuss Indian life in India and abroad, treat magic realism and historical Rome quite well, and social reality and Indian mythology prove to be the most popular subjects. The common theme, societal problems and issues and the

valued. There are a number of postmodern Indian novels to be investigated and studied.

1. Amardeep Singh (2018) on The Indian Novel in the 21st Century 2. Devaki. V (2019) on Indian Writing in English and Regional Literature in the light of Indian English 3. Dr. Venkateswarlu Yesapogu (2015) on The Role of Indian Writers and Their Contribution in the Contemporary World Literature-An Elucidation 4. Anjaria, Ulka. (2015) on A History of the Indian Novel in English. 5. H.L.Narayanrao (2014) on A Brief on Indian Literature and Languages 6. Brouillette, Sarah. (2014) on Literature and the Creative Economy. 7. Chakravorty, Mrinalini. (2014) on In Stereotype: South Asia in the Global Literary Imaginary. 8. Uday Prakash, (2016) on The Walls of Delhi: Three Novellas, 9. Madhuriya Kotoky. 2011. India’s Regional Literature in Popular Culture. 10. Aarti Dhar, (2012) on ―Despite Big Leap, India’s English Proficiency Is Just Moderate: Survey,‖ The Hindu. 11. Ananda KD (2019) on Recent trends in English literature in India 12. Subha M., T. Jayasudha (2014) on Indian Postmodern English Novels: Diachronic Survey.

Assistant Professor in English, Govt. College for Women, Jassaur Kheri, Haryana drdhyanibaba@gmail.com