Midnight's Children

 From Midnight to Margins

Hello Everyone, 

"From Midnight to Margin" , my this blog is based on thinking activity assigned by Prof. Dr. Dilip Barad sir. In which I'm going to discuss about Salman Rushdie's very famous novel Midnight's Children and some interesting discussion based on this particular novel like , title justification , use of 'English' in this novel and also the connection of prime minister Indira Gandhi as well as the metaphor of Bulldozer in this novel, but before discussing our main topics let's have a look upon the background of the novel and about the writer. 

Midnight's Children & Salman Rushdie : 

Midnight’s Children, allegorical novel by Salman Rushdie, published in 1981. It is a historical chronicle of modern India centring on the inextricably linked fates of two children who were born within the first hour of independence from Great Britain.  Exactly at midnight on Aug. 15, 1947, two boys are born in a Bombay (now Mumbai) hospital, where they are switched by a nurse. Saleem Sinai, who will be raised by a well-to-do Muslim couple, is actually the illegitimate son of a low-caste Hindu woman and a departing British colonist. Shiva, the son of the Muslim couple, is given to a poor Hindu street performer whose unfaithful wife has died. Saleem represents modern India. When he is 30, he writes his memoir, Midnight’s Children. Shiva is destined to be Saleem’s enemy as well as India’s most honoured war hero. This multilayered novel places Saleem at every significant event that occurred on the Indian subcontinent in the 30 years after independence. Midnight’s Children was awarded the Booker McConnell Prize for fiction in 1981. In 1993 it was chosen as the best Booker Prize novel in 25 years. Now Let's have a brief introduction of Salman Rushdie. 

Salman Rushdie : 

Salman Rushdie (born June 19, 1947, Bombay [now Mumbai], India) is an Indian-born British-American writer whose allegorical novels examine historical and philosophical issues by means of surreal characters, brooding humor, and an effusive and melodramatic prose style. Because of his treatment of sensitive religious and political subjects, particularly in his novel The Satanic Verses (1988), Rushdie has been the target of death threats and violent attacks and a central figure in debates about free speech and censorship.

Postcolonialism: 

Postcolonialism, the historical period or state of affairs representing the aftermath of Western colonialism; the term can also be used to describe the concurrent project to reclaim and rethink the history and agency of people subordinated under various forms of imperialism. Postcolonialism signals a possible future of overcoming colonialism, yet new forms of domination or subordination can come in the wake of such changes, including new forms of global empire. Postcolonialism should not be confused with the claim that the world we live in now is actually devoid of colonialism.

Postcolonialism is an intellectual and cultural framework that analyzes and critiques the effects of colonialism and imperialism on societies and their postcolonial legacies. Emerging from the works of theorists like Edward Said, Gayatri Spivak, and Homi K. Bhabha, postcolonialism examines the power dynamics and cultural interactions between colonizers and the colonized. It focuses on the ways in which colonial powers imposed their cultures, languages, and values, and how these impositions continue to affect the identities, politics, and social structures of formerly colonized nations. Postcolonial studies also explore resistance and the ongoing struggles for cultural and political autonomy, highlighting the complex negotiations between global influences and local traditions. The field encompasses a diverse range of disciplines, including literature, history, politics, and sociology, to address the enduring impacts of colonial rule and to envision alternative futures free from colonial legacies.

1. Justification of the Title

• Thematic and Narrative Connection 

Salman Rushdie’s choice of "Midnight's Children" over "Children of Midnight" is a deliberate decision that deepens the novel’s thematic and symbolic resonance. Although "Children of Midnight" appears more often in the text by mean 18 times in the text and "Midnight's Children" appears 11 times in the text , though one can sat that "Midnight's Children" suggests a deeper connection, implying that the children belong to and are shaped by the pivotal moment of midnight, symbolizing the hopes and complexities of post-colonial India. The possessive form adds gravitas and poetic rhythm, highlighting their intertwined destinies with the nation's fate. This title encapsulates how individual lives are shaped by broader historical forces, making it a powerful representation of the novel’s core themes.

Also one can easily sees that, the title "Midnight's Children" directly ties into the novel’s central theme: the birth of a new nation (India) at the stroke of midnight on August 15, 1947, and the simultaneous birth of the protagonist, Saleem Sinai, along with a thousand other children. These children are not just born at midnight; also like in a way "Midnight's Children," symbolizing the nation’s hopes, dreams, and challenges. The possessive form in the title underscores their collective identity as a product of this pivotal historical moment, embodying the nation's potential and its struggles.

"Children of Midnight," in contrast, could be interpreted more generally as children who happen to be born at midnight, potentially losing the specificity of their connection to the historical moment. The phrase lacks the same depth of connection to the transformative power of midnight as a symbolic moment of birth and change.

•  Historical and Mythical Connection 

Salman Rushdie's novel the "Midnight's Children" reinforces the protagonist Saleem Sinai's connection to both historical events and mythical elements. Saleem is not just any child born at midnight; he is one of the children of midnight whose lives are inextricably linked to the fate of post-colonial India. The possessive case in "Midnight's Children" suggests that these children belong to midnight, a time that is both literal (the time of India’s independence) and symbolic (a moment of transition between old and new, darkness and light).

The mythical aspects of the novel, including the magical powers possessed by the children, are further accentuated by this title. "Midnight" becomes almost a character in its own right, a force that imbues the children with their extraordinary abilities and ties their fates to the larger narrative of the nation. By choosing "Midnight's Children," Rushdie highlights this connection between the personal and the mythical, between individual identities and the broader currents of history.

•  Impact on Thematic Exploration

The title foregrounds the novel's exploration of identity, nationhood, and the passage of time. It emphasizes the way in which the characters, especially Saleem, are products of their time—shaped by the historical, cultural, and political forces at play. The possessive form implies that the children belong to midnight, that they are in some way owned or defined by this crucial moment. This adds a layer of inevitability to their lives, suggesting that they cannot escape the historical circumstances into which they were born.

The title also allows Rushdie to delve into the themes of fragmentation and hybridity, as the children, like the nation itself, are composite figures—neither wholly one thing nor another. They are both the promise and the burden of midnight, carrying the weight of the nation’s future on their shoulders.

Moreover, The title of a book can influence a reader's perception, hinting at its themes or content and sparking interest. In Midnight's Children, this thematic reflection is evident.

Rushdie’s humor shines through in a 1985 interview where he explains how the idea of midnight’s children came about. Initially, he envisioned only one child. As he thought about expanding the concept, it became two.

“Then I realised that in a nation like India, you can’t have only two children. It has to be more than two, and if it is, why these two? I used calculators to do a quantitative calculation on India’s birthrate and discovered that a thousand and one children is correct”.(“Les Fictions Du Réel Dans Le Monde Anglo-américain De 1960 À 1980”)

2. Postcolonial Voices: Theoretical Lenses

Salman Rushdie's Midnight's Children serves as a rich site for postcolonial critique, engaging with various theoretical frameworks to challenge and expand the boundaries of postcolonial discourse. Through its innovative narrative techniques and thematic depth, the novel not only reflects the complexities of postcolonial identity but also contributes to the broader conversation about the impact of colonialism and the ongoing process of decolonization.

Edward Said’s concept of Orientalism 

It describes how the West has historically constructed the East as an exotic, backward, and inferior "Other." In Midnight's Children, Salman Rushdie subverts these Orientalist tropes by presenting Indian history from an indigenous perspective, thereby challenging Western narratives. The novel’s use of magical realism, particularly through Saleem Sinai’s telepathic abilities, defies Western rationalism and presents a narrative that is uniquely Indian. The blend of history with myth and fantasy creates a counter-narrative that resists Orientalist simplifications. For example, the portrayal of the Indian subcontinent's Partition is not just a historical event but a deeply personal and surreal experience, highlighting the complexities and traumas often glossed over by Western historiography.

Homi Bhabha's concept of hybridity and the "Third Space"

It is central to Midnight's Children. The character of Saleem Sinai, with his mixed heritage, embodies the blending of cultures, religions, and languages, reflecting the hybrid nature of postcolonial identities. The novel’s language itself, often described as “chutnified,” symbolizes this hybridity, mixing English with Indian vernaculars and idioms. The narrative occupies a "Third Space" by rejecting binary oppositions, such as East/West or colonizer/colonized, and instead embracing a fluid, hybrid identity. Saleem's experiences, particularly his telepathic connection with the other children of midnight, symbolize the interconnectedness of diverse identities within this "Third Space."

Gayatri Chakravorty Spivak - Subaltern Studies:

Gayatri Spivak’s focus on the subaltern, or those marginalized by history, is reflected in Midnight's Children through its emphasis on the stories of the poor, women, and minorities. The novel’s chaotic and fragmented narrative structure mirrors the disempowerment of the subaltern, challenging the linear, official histories often dominated by elite perspectives. For instance, the narrative includes the voices of marginalized characters like Parvati-the-witch, who, despite her magical abilities, remains a subaltern figure whose story is often overshadowed by the dominant narrative. The novel, by giving space to such characters, critiques the exclusion of these voices from official histories.

Frantz Fanon - Decolonization and National Consciousness:

Frantz Fanon's ideas about the psychological effects of colonialism and the necessity for a national consciousness are evident in Midnight's Children’s depiction of post-independence struggles. Saleem Sinai's fractured identity symbolizes the fragmented nature of postcolonial India, struggling to forge a unified national identity. Fanon’s concept of decolonization as a violent and chaotic process is reflected in the novel's portrayal of India's Partition and the subsequent challenges faced by the newly independent nation. The personal and national turmoil that Saleem experiences parallels the broader struggle of India to reconcile its colonial past with its postcolonial present, highlighting the challenges of creating a cohesive national consciousness.

Dipesh Chakrabarty’s call to "provincialize" Europe, or decenter Eurocentric narratives, is answered in Midnight's Children by its focus on Indian history and identity.

The novel challenges the dominance of Western historiography by employing magical realism, a narrative technique that allows for a multiplicity of perspectives, including those that Western rationalism might dismiss. For example, Saleem’s personal history is intricately linked with India’s national history, and his narrative often critiques the linear, cause-and-effect approach typical of European historical writing. By intertwining myth, memory, and history, Rushdie reclaims Indian history from a colonial perspective and presents it as a dynamic, multifaceted narrative.

Ngũgĩ wa Thiong'o’s concept of "decolonizing the mind" involves rejecting the colonizer's language and embracing indigenous languages and cultural expressions. Although Rushdie writes in English, he subverts the colonial language by infusing it with Indian vernaculars, creating a "chutnified" English that reflects the linguistic diversity of India. This linguistic hybridity is an act of resistance against the dominance of the colonizer’s language, aligning with Ngũgĩ’s idea of decolonizing the mind. An example of this is the novel’s playful use of language, where English words and phrases are mixed with Hindi, Urdu, and other Indian languages, creating a unique literary style that reflects India’s cultural and linguistic diversity.

Aimé Césaire - Negritude and Colonial Alienation:

Aimé Césaire’s concept of Negritude, which focuses on African identity and the reclamation of black culture, resonates in Midnight's Children through Saleem Sinai’s quest to understand his identity amidst the legacies of colonialism. Although Negritude is rooted in the African experience, its themes of resisting cultural alienation and reclaiming a sense of self are relevant to postcolonial India. Saleem's journey is marked by his attempts to reconcile his hybrid identity, which has been shaped by both indigenous and colonial influences. The novel’s engagement with India’s cultural heritage, particularly through the incorporation of myths, folklore, and traditional practices, reflects a resistance to colonial alienation. For example, the significance of chutney-making in the novel symbolizes the preservation and celebration of Indian culture, even in the face of colonial influence.

3. The Role of 'English' in 'Midnight's Children': 

Salman Rushdie’s Midnight’s Children is celebrated not only for its narrative complexity but also for its innovative use of the English language. Rushdie deliberately remakes English to suit the Indian context, creating a form of English that reflects the hybrid nature of postcolonial Indian identity. His use of English in the novel serves multiple purposes: it decolonizes the language, makes it more representative of Indian realities, and bridges the gap between the local and the global.

Also one can see 'English' as a Pan-Indian Language in "Midnight's Children. Salman Rushdie's use of English in Midnight’s Children goes beyond regional specificity, aiming instead to create a pan-Indian language. Unlike earlier Indian English novelists who drew heavily from their mother tongues to infuse their English with regional flavors, Rushdie's English is a synthesis that represents the linguistic diversity of India as a whole. This approach reflects his vision of a unified yet diverse Indian identity, where English serves as a bridge between different linguistic and cultural communities. Say for example, The narrative voice of Saleem Sinai, the protagonist, oscillates between formal British English and colloquial Hinglish, reflecting his position as both an insider and an outsider in postcolonial India. The narrative thus captures the tension between tradition and modernity, indigenous culture and colonial legacy, which is central to the novel's exploration of Indian identity.

• Chutnified and De-Doxified Forms

Salman Rushdie's use of English in "Midnight's Children" is a significant aspect of his literary style, particularly in how he adapts and transforms the language to reflect the complexities of postcolonial India. This adaptation is often referred to as "chutnified" English, a term that captures the hybrid, mixed nature of the language in the novel, as well as "de-doxified" English, which refers to the way Rushdie challenges and subverts conventional language norms.

• Chutnified English:

Rushdie’s "Midnight's Children" employs a form of English that is deeply infused with Indian vernaculars, idioms, and cultural references. This "chutnified" English is a hybridized version of the language, where Rushdie mixes English with Hindi, Urdu, and other regional languages. This blending not only reflects the linguistic diversity of India but also serves to decolonize the English language, making it more reflective of the Indian experience.

Example from the Text:

One of the key examples of chutnified English in "Midnight's Children" is the dialogue between characters like Padma and Saleem. For instance, Padma uses phrases like "Eat, na, food is spoiling," where the use of "na" (a common Hindi/Urdu conversational filler) and the ungrammatical structure "food is spoiling" instead of "the food is getting cold" highlight the fusion of Hindi with English. This linguistic style creates a voice that is distinctly Indian, despite being in English, and it resonates with the everyday speech patterns of Indian society. For example, “I sang while I worked”. This usage of the same word twice in succession is more common in the vernacular-“Maine gaate gaate kaam kiya”.

Rushdie’s choice to use chutnified English allows him to create a narrative that feels authentic to its setting. It captures the essence of Indian life, where languages intermingle in daily communication, reflecting the nation's complex history of colonization and cultural exchange.

• De-Doxified English:

De-doxification in Rushdie's use of English refers to the way he disrupts traditional, colonial forms of the language to reveal new meanings and perspectives. Rushdie’s narrative style often involves breaking down and reassembling the English language in ways that challenge its conventional, "natural" order, as described by post-structuralist thinkers.

Example from the Text:

A notable example of de-doxification is Rushdie’s description of historical events and figures through a lens that is both irreverent and subversive. For instance, in the novel, the character Tai the boatman speaks of Jesus Christ not as a revered figure but as a bald, fun-loving man with a voracious appetite: "I have seen plenty...you should've seen Isa (Jesus) when he came, beard down to his balls, bald as an egg on his head...Saint or devil, I swear he could eat a whole kid in one go." This portrayal, filled with humor and exaggeration, challenges the sanctified image of Christ, thereby disrupting traditional narratives and encouraging readers to question established ideologies.

In addition, Rushdie's use of punctuation—like his frequent use of ellipses and dashes—also contributes to the de-doxification of English. These stylistic choices dislocate the language, allowing for the infusion of non-Western rhythms and voices into the text, thus undermining the colonial grip on English and making it a vehicle for postcolonial expression.

Through the chutnified and de-doxified forms of English, Salman Rushdie not only captures the linguistic reality of postcolonial India but also challenges the colonial legacy embedded in the English language. By infusing English with local flavors and subverting its traditional forms, Rushdie creates a novel that is both a reflection of India's hybrid identity and a critique of the power dynamics inherent in language. This innovative use of English in "Midnight's Children" positions Rushdie as a central figure in the ongoing evolution of Indian English literature.

One can also find 'Linguistic Experimentation' in this novel.  Rushdie’s innovative use of punctuation, syntax, and narrative structure further distinguishes his English from the colonial standard. His playful manipulation of language reflects the fragmented and multifaceted nature of postcolonial identity.

Example: In one passage, Rushdie writes, “Roundandroundand…” to convey continuous motion, breaking conventional grammatical rules to achieve a particular narrative effect. This kind of linguistic experimentation is characteristic of Rushdie’s style and contributes to the novel's dynamic and layered narrative.

4. Portrayal of the Emergency Period (1975-77)

The Emergency in India, lasting from June 25, 1975, to March 21, 1977, was a 21-month period during which Prime Minister Indira Gandhi declared a state of emergency across the country. Officially proclaimed due to internal disturbances, it allowed the government to rule by decree, suspending elections and curbing civil liberties. This period is often considered one of the darkest chapters in independent India's history due to widespread human rights violations, including arrests of political opponents, censorship of the press, and forced sterilization drives. The immediate cause of the Emergency was a verdict by the Allahabad High Court on June 12, 1975, which found Indira Gandhi guilty of electoral malpractices during the 1971 elections and barred her from holding public office for six years. Faced with growing political opposition, she responded by advising the then-President Fakhruddin Ali Ahmed to declare a state of emergency, citing threats to national security and public order. During the Emergency, the government implemented drastic measures to suppress dissent, leading to the arrest of thousands of political leaders and activists under preventive detention laws. The press was heavily censored, and fundamental rights were suspended. The Emergency also saw controversial programs such as the forced sterilization campaign led by Indira Gandhi's son, Sanjay Gandhi, which aimed at population control but resulted in widespread coercion and suffering among the poor.

Economically, the Emergency period witnessed mixed outcomes. While it brought some stability and continuity in government policies, leading to a focus on economic development, these achievements were overshadowed by the undemocratic methods employed. The suspension of political opposition allowed for the swift implementation of economic measures, but the erosion of democratic institutions and the repression of civil liberties led to widespread discontent.

The Emergency ended on March 21, 1977, when Indira Gandhi, confident of popular support, called for general elections. However, the elections resulted in a massive defeat for her party, the Indian National Congress, and marked the first time in India's history that a non-Congress government came to power at the national level. The Emergency remains a significant event in India's political history, serving as a reminder of the fragility of democratic institutions and the dangers of unchecked executive power.

This is the noted history of Emergency , but as we all know that literature is not only books but it also includes movies in it. So for that Emergency movie is coming in the theatre on 6th of September 2024. Which is based on this only , here is the trailer of the movie...

Katherine Frank's insights on Salman Rushdie's depiction of the Emergency period and Character of Prime minister Indira Gandhi 

Katherine Frank's insights on Salman Rushdie's depiction of the Emergency period (1975-77) and the character of Prime Minister Indira Gandhi provide a nuanced understanding of how Rushdie intertwines historical events with literary imagination in "Midnight’s Children". Here's an analysis based on the video by Prof. Dr. Dilip Barad sir on "Midnight's Children: Mr. Rushdie and Mrs. Gandhi "

•  Historical Context & Rushdie’s Narrative Strategy:

The Emergency, declared by Prime Minister Indira Gandhi, was a 21-month period of authoritarian rule in India. Civil liberties were suspended, the press was censored, and political opponents were imprisoned. It marked a significant departure from India's democratic norms, leading to widespread fear and repression. In "Midnight’s Children", Rushdie uses magical realism to depict the Emergency, blending historical events with fantastical elements. This period is symbolically represented through the sterilization campaign and the persecution of the novel’s protagonist, Saleem Sinai, who becomes a metaphor for the Indian nation. The loss of his memory during this time mirrors the erasure of civil liberties and personal freedoms that occurred during the Emergency.

• Thematic Exploration & Literary Representation :

Rushdie portrays the Emergency as a period of darkness and oppression, emphasizing the loss of identity, both personal and national. The forced sterilizations, a key aspect of the Emergency, are depicted as a grotesque abuse of power, reflecting the broader violations of human rights during this time. Through Saleem’s experiences, Rushdie critiques the arbitrary use of state power and the dehumanizing effects of authoritarianism. Indira Gandhi, in "Midnight’s Children", is depicted with a critical lens. Rushdie presents her as a powerful yet flawed leader, whose actions during the Emergency are portrayed as driven by a mix of political desperation and personal vendetta. She is not just a political figure but a symbol of the nation’s crisis, embodying both the strengths and the dangers of concentrated power.

• Katherine Frank’s Analysis:

According to Frank’s biography, Rushdie's portrayal of Indira Gandhi is complex and layered. He draws on real historical events but infuses them with his own creative interpretation. Frank suggests that Rushdie’s depiction of Mrs. Gandhi is influenced by his own ambivalence towards authority figures, particularly those who wield power unilaterally. This ambivalence is reflected in the way Rushdie humanizes Gandhi, showing her vulnerabilities, while also condemning her authoritarian tendencies.

• Symbol : 

Rushdie uses Mrs. Gandhi as a symbol of the mother figure, which in the novel becomes a metaphor for the nation itself. Her actions during the Emergency, particularly the forced sterilization campaign, are depicted as attempts to control and dominate, paralleling the control of a mother over her children. However, this control is shown to be destructive, leading to the breakdown of both family and national unity.

Katherine Frank’s insights, along with Rushdie’s own narrative techniques, highlight the complexities of the Emergency period and the character of Indira Gandhi. Through "Midnight’s Children", Rushdie offers a scathing critique of authoritarianism while also exploring the psychological and emotional dimensions of leadership during a time of national crisis. Indira Gandhi is depicted not just as a political leader but as a symbol of the fraught relationship between power and the people, making Rushdie’s work both a historical and literary commentary on one of India’s most turbulent periods.

5. Metaphor of the Bulldozer in 'Midnight’s Children'

The metaphor of the bulldozer in Salman Rushdie's "Midnight’s Children" serves as a potent symbol of state power, destruction, and the erasure of identity, particularly during the Emergency period under Indira Gandhi's rule.

The bulldozer in "Midnight’s Children" is depicted as an instrument of the authoritarian regime, particularly during the Emergency, where it is used to destroy communities and suppress dissent. This representation aligns with the historical use of bulldozers during Sanjay Gandhi’s urban "beautification" drives, where slums were demolished under the pretext of civic improvement. In the novel, the bulldozer becomes a symbol of the state's brute force, used to impose control and eliminate any resistance to its authority. Say for example ,the passage where bulldozers raze the slum of the magicians illustrates the dehumanizing power of the state. The loudspeaker blaring orders for evacuation, followed by the advance of bulldozers, emphasizes the cold, mechanical nature of the state’s oppression. The bulldozer’s actions are portrayed as inevitable and unstoppable, much like the authoritarian government's disregard for the lives of the marginalized.

The bulldozer also symbolizes the erasure of personal and cultural history. In one instance, the destruction of Saleem Sinai’s cherished silver spittoon by a bulldozer represents the loss of his tangible connection to the past. This act of destruction by the bulldozer is not just physical but also metaphorical, signifying the obliteration of memory and identity by authoritarian forces. One can also see the example that, the spittoon’s destruction leaves Saleem unmoored, symbolizing how the Emergency period attempted to erase not only dissent but also the cultural and historical identities of the people. The bulldozer’s role in this process reflects the broader theme of historical erasure and the imposition of a sanitized, controlled narrative by those in power.

Rushdie uses the bulldozer to highlight the dehumanizing effects of political power. Characters affected by the bulldozer's actions are reduced to mere objects or ghosts of their former selves, as seen when the dust from the bulldozer's work shrouds them, making them appear like neglected furniture. This imagery underscores the state’s ability to strip people of their humanity, reducing them to relics to be discarded in the pursuit of a hollow vision of progress. Say for example , the metaphorical impact of the bulldozer is most poignantly felt when the narrator expresses nostalgia for the bulldozed silver spittoon. This nostalgia reflects a deep sense of loss, not just of a physical object but of a connection to a past that has been irrevocably destroyed by the state’s actions. The bulldozer, in this sense, becomes a symbol of the emotional and psychological devastation caused by the Emergency.

In "Midnight’s Children", the bulldozer is a powerful metaphor for the authoritarian tactics employed during the Emergency, representing the state’s coercive power to erase, suppress, and control. Through this metaphor, Rushdie critiques the dehumanizing and destructive effects of authoritarianism, making the bulldozer a symbol of both physical and cultural erasure. The metaphor resonates with contemporary issues of state violence and oppression, making it a tragically relevant symbol even today.

Conclusion : 

In "Midnight’s Children", Salman Rushdie masterfully intertwines history, myth, and personal narrative to craft a profound exploration of postcolonial India. The novel’s title itself reflects the symbolic significance of the midnight moment of India’s independence, encapsulating the birth of a new nation and its complex legacy. Rushdie’s inventive use of English, blending various linguistic forms, mirrors the cultural hybridity of postcolonial India, while also challenging and redefining colonial narratives through the lenses of theorists like Edward Said, Homi Bhabha, and Gayatri Chakravorty Spivak. The portrayal of the Emergency period within the novel critiques the authoritarian abuse of power and its impact on personal and national identities, utilizing magical realism to highlight the erosion of freedoms and the struggles of resistance. As the novel continues to influence and inspire, particularly with the anticipation of its film adaptation, "Midnight’s Children" stands as a testament to the enduring power of literature to reflect on and shape our understanding of historical and political realities, offering a vivid and critical perspective on the intersections of language, identity, and history. 

References : 

Barad, Dilip. “Erasure and Oppression: The Bulldozer as a Tool of Authoritarianism in Midnight’s Children.” ResearchGate, Aug. 2024, https://doi.org/10.13140/RG.2.2.18505.15209.  ---. 

Britannica, The Editors of Encyclopaedia. "Midnight’s Children". Encyclopedia Britannica, 26 Aug. 2024, https://www.britannica.com/topic/Midnights-Children. Accessed 30 August 2024.

Britannica, The Editors of Encyclopaedia. "Salman Rushdie". Encyclopedia Britannica, 15 Jun. 2024, https://www.britannica.com/biography/Salman-Rushdie. Accessed 30 August 2024.

DoE-MKBU. “Midnight’s Children | Mr. Rushdie and Mrs. Gandhi | Sem 3 Online Classes | 2021 07 14.” YouTube, 14 July 2021, www.youtube.com/watch?v=Mobzaun3ftI

Frank, Katherine. “Mr. Rushdie and Mrs. Gandhi.” Biography, vol. 19, no. 3, 1996, pp. 245–58. JSTOR, http://www.jstor.org/stable/23539764. Accessed 30 Aug. 2024.

Ivison, Duncan. "postcolonialism". Encyclopedia Britannica, 4 Jul. 2024, https://www.britannica.com/topic/postcolonialism. Accessed 30 August 2024.

“Les Fictions Du Réel Dans Le Monde Anglo-américain De 1960 À 1980.” Presses universitaires François-Rabelais eBooks, 1988, https://doi.org/10.4000/books.pufr.3799.

“Postcolonial Voices: Analysing Midnight’s Children Through Theoretical Lenses.” ReserchGate, Aug. 2024, https://doi.org/10.13140/RG.2.2.16493.19689.  

Behal, Anuj. “India’s Bulldozer Raj: Over 1,50,000 Homes Razed, 7,38,000 Left Homeless in Two Years.” https://frontline.thehindu.com/politics/demolition-eviction-drives-muslims-dalit-smart-city-lucknows-akbarnagar-housing-and-land-rights/article68331521.ece#:~:text=According%20to%20a%202024%20estimate,urban%20areas%20in%20the%20country.

Thank you so much for reading.

Have a great time.