Salman Rushdie
Midnight's Children as a Historiographical
Metafiction
General Issues:
-
metafictional parody of novelistic
conventions --ab ovo; foregrounding narrative threads, foreshadowing, overplotting
B. As a Historiographical
Metafiction: Parody of National Myth + Magic Realism |
-
Binary opposition: between the historical/elevated
and the personal/trivial,
Snake
and Ladder, Nose and Knees, Middle class and lower class (Tai
and Aziz; Shiva and Saleem) , Center and Periphery,
author and reader, artist and entertainer, history and myth, national unification
and fragmentation,
-
Parody --
-
overdoing the
plot; literalizing symbolic/metaphoric
relations (e.g. national birth // personal birth; national long for form
// personal search for meaning; national fragmentation // bodily fragmentation)
-
the myth of growth and unification
debunked: pluralized, textualized, source of magic power, negative results
(bodily fragmentation, the failure of MCC)
-
Elements of Magic Realism:
e.g. multiplied
fantasies, its introduction of the supernatural into the everyday;
its hauntings and "traffic of the dead".
Rushdie sees Magic
Realism as "a genuinely 'Third World'
consciouslness" (Merivale, Magic Realism 331)
Magic Realism and Postmodernism: 1.
Since 1980's, these terms are "allowed spillage into other linguistic or
geographical areas";
2. De-Centering: "Magic
realism . . . reveals itself as a ruse to invade and take over dominant
discourse(s). It is a way of access to the main body of 'Western'
literature for authors not sharing in, or not writing from the perspective
of, the privileged centers of this literature for reasons of language,
class, race, or gender, and yet avoiding epigonism by avoiding the adoption
the views of the hegemonic forces together with their discourse.
Alternatively, it is a means for writers coming from the privileged centers
of literature to dissociate themselves from their own discourses of power,
and speak on behalf of the ex-centric and un-privileged (with the risk
of being judged 'patronizing' by those on whose behalf such writers seek
to speak). " (195)
Questions:
-
Is Saleem's/Rushdie's history plural?
How is Saleem a swallower of lives? Is it another Grand narrative
in Lyotard's sense?
-
Is Rushdie an anti-colonial writer or a
migrant writer?
Book I
-
Overdoing the plot-lines: Rushdie not only "inscribes and blurs"
the line between history and fiction; he exaggerates the "longing for
form" of a nation or national history. The following are some
examples of his imposition of a narrative form (plot) on the personal and
historical events:
-
The
Connections between National History and Personal History
(fju)--hyperbolic
assumption of responsibilities for national events happening during
or even before his lifetime.
-
foregrounding of plot lines
-- The narrator foretells and summarizes his story frequently (e.g.
pp. 7; 13; his bodily disintegration p. 37; the whole chapter of "Tick,
Tock"); 2 threads of his life (pp. 46-47)
-
the use of motifs to
make connections between events which do not have the usual kind of causal
connections.
-
(e.g. nose, spittoon, hole)
-
hole on Aziz's nose -- holes
on the bed sheet -- the way Amina loves Ahmed p. 75
-
spittoon--the old men's
p. 68; p. 104; p. 45-46 vs. the Raj;
--Saleem's family heritage
--an agent of his "purification"
--substituted by an empty Dalda Vanaspati can
"Elegant in the salon of
the Rani of Cooch Naheen, it permitted intelllectuals to practice the art-forms
of the masses; gleaming in a cellar, it transformed Nadir Khan's underworld
into a second Taj Mahal; gathering dust in an old tin trunk, it was nevertheless
present throughout my history, ..." (342)
By thus exaggerating the need for form
or national myth, Rushdie shows the artificiality of both, and the
disintegration of India's national identity.
-
One example of his literalizing the metaphors
used: The relationships between (women's and Saleem's) body and history
Tai's skin disease 29; Naseem's
as a partitioned and then unified woman (p. 23), the mother's public
announcement 86; Saleem's bodily disintegration p. 37; cracks or
no cracks? p. 72;
-
The novel's self-reflexivity
shown in
A. His discussion of his writing
e.g. p. 38 pickling and
writing as both great work of preserving.
B. in the use of the artist/entertainer-figures
The artists who aim at all-inclusiveness
in their arts:
"To understand just one
life, you have to swallow the world" (126)
"the Role of the artists
Harrison 65
As Keith Wilson has pointed
out, ...there is an above-average number of failed, quasi-, or would-be
artists in the novel. They include Nadir Khan the poet, his painter
friend whose pictures grow and grow, Lifafa Das and his expanding peep
show, Hanif the film director, Picture Singh the snake charmer, Jamila
the singer, and most importantly, of course, Saleem the writer. For
he too, like the others, illustrates the unattainability of either universality
or the kind of perfection that Hanif aims at in playing rummy--in a word,
the essential fallibility of the artist and of whatever medium he or she
uses." (Harrison, James. Salman Rushdie. NY: Twayne Publishers,
1992.)
e.g. painter who Nadir Khan
lives with p. 50
Lifafa Das p. 82
Wee Willie Winkie p. 116
Hanif's documentary realism
292 --the story of a pickle factory
C. The role of the
reader: Padma
A. Padma as a
realist reader
[Her] earthiness leaking
into me , urges me back to the world of linear narrative p.38; as a realist
reader impatient p. 116-17; complain that he lies 136; discontented,
critical p. 142;
B. Padma as one
from the lower class in India
Padma name p.21; dung-paean
30;lotus-goddess of the present 177, her dream of become his wife 460
C. Padma is Saleem's
connection to reality
misses her when she
is away 187; certainties falling apart 197; praises her when she is back
233; admire her leg-muscle 324-25
D. growth textualized: e.g. --textualized
foetus growing from a full stop to ..p. 115
thirty chapters = thirty pickle jars =
thirty years of age
Book II
Reality is a matter of perspective
197 -- his error p. 198;
p. 265
Binaries -- Snake and Ladder (166 - 67; the episode of
Mary - Musa 171-72); dialectics of center/margin:
-
fisherman's finger--p. 143, 144; Mary to Saleem "you can be just what-all
you want!" 184
Washing Chest and then the gradual fall from the center in a series of
mutilation (the first on p. 275 at school)
-
Saleem vs. Shiva 307; Shiva the commander; the war hero 486
--490 S "I have allowed his account too much space"
the rivalry between Saleem and Sinai=the age 515
Elements of Magic Realism:
-
Source of Magic power: 1956 the Washing Chest Accident;
1957 the Circus ring accident p. 223
Washing Chest incident -- juxtaposition
of high and low: magic power and the washing chest. "a place which
civilization has put outside itself, beyond the pale; this makes it the
finest of hiding places" (184)
the magic moment pp. 192
-95; after retreating to himself, 200
-
MMC -- 240; Metro Cub Club = Midnihgt Children's Conference 247;
from being an All-India Radio to a speaker, an organizer p. 263
a conference with a center
Shiva 263 sees MCC as a gang--S sees it as a sort of "loose federation
of equals";
the lure of leadership 272
Female Characters:
Brass Monkey an ally p. 180;
Evie Burns 269 --
Monkey and Evie's fight -- blood;
=Jamila Singer
subject to the exaggeration and simplification of self and right-and-wrong
nationalism375
the magicians' ghetto 474-//the Communist movement in India 476
Picture Singh
plot
time line
1915-1942 Mian Abudullah--1945 8/9 revelation
and arrest p. 68
1946 6 Mumtaz(Amina)+ Ahmed
1947 8/15
1956 the Washing Chest Accident
1957 the Circus ring accident p. 223
581 of the 1001 survive
1958 the Midnight Children's Conference
passive victim; understanding, with a sense
of purpose--
smell anything that stinks--
oblivion--as a bhudha, a basketed ghost, a
would-be-savious of the nation,
anger--calm, no longer want to be anything
except what who I am. ..I am the sum total of ...457
1975 6/25 the birth of Aadam Sinai
1976 420 in captivity
1977 1/18 ectomy
[Relevant Issues of Postcolonial Identities]
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