Midnight's Children sold over one million copies in the UK alone and won the Booker Prize and James Tait Black Memorial Prize in 1981.[1] It was also awarded the special Booker of Bookers prize in 1993, and the Best of the Booker in 2008, to celebrate the Booker Prize's 25th and 40th anniversaries.[2][3][4][5] In 2003 the novel appeared at number 100 on the BBC's The Big Read poll which determined the UK's "best-loved novels" of all time.[6]
Midnight's Children is a loose allegory for events in 1947 British Raj India and after the partition of India. The protagonist and narrator of the story is Saleem Sinai, born at the exact moment when India became an independent country. He was born with telepathic powers, as well as an enormous and constantly dripping nose with an extremely sensitive sense of smell. The novel is divided into three books.
The first book begins with the story of the Sinai family, particularly with events leading up to the fall of British Colonial India and the partition. Saleem is born precisely at midnight, 15 August 1947, therefore, exactly as old as independent India. He later discovers that all children born in India between 12 a.m. and 1 a.m. on that date are imbued with special powers. Saleem, using his telepathic powers, assembles a Midnight Children's Conference, reflective of the issues India faced in its early statehood concerning the cultural, linguistic, religious, and political differences faced by a vastly diverse nation. Saleem acts as a telepathic conduit, bringing hundreds of geographically disparate children into contact while also attempting to discover the meaning of their gifts. In particular, those children born closest to the stroke of midnight wield more powerful gifts than the others. Shiva "of the Knees", Saleem's nemesis, and Parvati, called "Parvati-the-witch," are two of these children with notable gifts and roles in Saleem's story.
Meanwhile, Saleem's family begin a number of migrations and endure the numerous wars which plague the subcontinent. During this period he also suffers amnesia until he enters a quasi-mythological exile in the jungle of Sundarban, where he is re-endowed with his memory. In doing so, he reconnects with his childhood friends. Saleem later becomes involved with the Indira Gandhi-proclaimed Emergency and her son Sanjay's "cleansing" of the Jama Masjid slum. For a time Saleem is held as a political prisoner; these passages contain scathing criticisms of Indira Gandhi's over-reach during the Emergency as well as a personal lust for power bordering on godhood. The Emergency signals the end of the potency of the Midnight Children, and there is little left for Saleem to do but pick up the few pieces of his life he may still find and write the chronicle that encompasses both his personal history and that of his still-young nation, a chronicle written for his son, who, like his father, is both chained and supernaturally endowed by history.
Major themes
The technique of magical realism finds liberal expression throughout the novel and is crucial to constructing the parallel to the country's history.[7] The story moves in different parts of Indian Subcontinent – from Kashmir to Agra and then to Bombay, Lahore and Dhaka. Nicholas Stewart in his essay, "Magic realism in relation to the post-colonial and Midnight's Children," argues that the "narrative framework of Midnight's Children consists of a tale – comprising his life story – which Saleem Sinai recounts orally to his wife-to-be Padma. This self-referential narrative (within a single paragraph Saleem refers to himself in the first person: 'And I, wishing upon myself the curse of Nadir Khan...;' and the third: '"I tell you," Saleem cried, "it is true. ..."') recalls indigenous Indian culture, particularly the similarly orally recounted Arabian Nights.[7] The events in the book also parallel the magical nature of the narratives recounted in Arabian Nights (consider the attempt to electrocute Saleem at the latrine (p.353), or his journey in the 'basket of invisibility' (p.383))."
He also notes that, "the narrative comprises and compresses Indian cultural history."[7] "'Once upon a time,' Saleem muses, 'there were Radha and Krishna, and Rama and Sita, and Laila and Majnun; also (because we are not unaffected by the West) Romeo and Juliet, and Spencer Tracy and Katharine Hepburn' (259)." Stewart (citing Hutcheon) suggests that Midnight's Children chronologically entwines characters from both India and the West, "with post-colonial Indian history to examine both the effect of these indigenous and non-indigenous cultures on the Indian mind and in the light of Indian independence."[7]
Style
Midnight's Children has been called "a watershed in the post-independence development of the Indian English novel", to the extent that the decade after its 1981 publication has been called "post-Rushdie". During that decade, many novels inspired by Midnight's Children were written by both established and young Indian writers.[8]
Rushdie's innovative use of magic realism allowed him to employ the nation-as-family allegory and at the same time confound it with an impossible telepathy among a multitude of children from a multitude of languages, cultures, regions and religions. No one genre dominates the entire novel, however. It encompasses the comic and the tragic, the real, the surreal, and the mythic. The postcolonial experience could not be expressed by a Western or Eastern, public or private, polarity or unity, any more than any single political party could represent all the people of the nation.[9][10][11][12]
Rushdie also coined the word chutnification in the book to describe the adoption of Indian elements into the English language or culture.[13][14] A chutney is a sauce for a dry base, originating from the Indian subcontinent.
Reception
Upon release, the book was generally well-received.[15] According to Rushdie, "...I celebrated the book’s critical reception...The three I have never forgotten were written by Anita Desai in the Washington Post, by Clark Blaise in the New York Times and by Robert Towers in the New York Review of Books."[16]
According to Rushdie, there was "one memorable bad review".[16] In his words from Los Angeles Times, "The BBC radio program “Kaleidoscope” had devoted a great deal of time to my novel, and given it the works: Indian music to introduce it, a reading, a sympathetic interview with me, and then it was over to their critic ... who unreservedly hated the book. The program’s presenter, Sheridan Morley, kept asking this critic (whose name I’ve forgotten) to find some little thing to praise. “But didn’t you think ... “ “Wouldn’t you at least agree that ... “ and so on. The critic was implacable. No, no, there was nothing he had liked at all. After the magnificent buildup, this negative intransigence was delightfully, bathetically funny."[16]
Midnight's Children was awarded the 1981 Booker Prize, the English Speaking Union Literary Award, and the James Tait Prize. It also was awarded The Best of the Booker prize twice, in 1993 and 2008 (this was an award given out by the Booker committee to celebrate the 25th and 40th anniversary of the award).[3]
The book went on to sell over one million copies in the UK alone.[17]
In 1984 Prime Minister Indira Gandhi brought an action against the book in the British courts, claiming to have been defamed by a single sentence in the penultimate paragraph of chapter 28, in which her son Sanjay Gandhi was said to have had a hold over his mother by his accusing her of contributing to his father Feroze Gandhi's death through her neglect. The case was settled out of court when Salman Rushdie agreed to remove the offending sentence.[18]
Adaptations
In the late 1990s the BBC was planning to film a five-part mini-series of the novel with Rahul Bose in the lead, but due to pressure from the Muslim community in Sri Lanka (a later Rushdie's novel, The Satanic Verses, published in 1988 caused widespread uproar in the Muslim world), the filming permit was revoked and the project was cancelled.[19] Later in 2003, the novel was adapted for the stage by the Royal Shakespeare Company.[20]The Guardian gave the play an average rating of 5.2 out of 10 based on reviews from multiple British newspapers. [21]BBC Radio 4 broadcast a dramatic adaptation in 2017 at the 70th anniversary of Indian independence, repeated in five parts in 2021.[22]
In June 2018 streaming service Netflix announced plans to adapt Midnight's Children as an original Netflix TV series.[33] By the end of 2019, the project had been abandoned. Although showrunner Vishal Bhardwaj had received support from Rushdie for his script and had done much of the work on casting and scouting locations, after the compromises he had made on his poorly-received 2017 film Rangoon he would not go ahead without agreement for a more ambitious project with a greater special effects budget than Netflix was prepared to agree.[34]
↑ Rege, Josna E. (Fall 1997). "Victim into Protagonist? 'Midnight's Children' and the post-Rushie National Narratives of the Eighties". Studies in the Novel. 29 (3): 342–375. JSTOR29533221.
↑ Rubinson, Gregory J. (2005). Salman Rushdie. McFarland and Company. pp.29–76.{{cite book}}: |work= ignored (help)
↑ Schultheis, Alexandria W. (2004). Postcolonial Lack and Aesthetic Promise in Salman Rushdie's Midnight's Children and The Moor's Last Sigh. New York: Palgrave Macmillan. pp.105–151.{{cite book}}: |work= ignored (help)
↑ This is reported by Salman Rushdie himself in his introduction to the 2006 25th Anniversary special edition, Vintage books, dated 25 December 2005 ISBN978-0-09-957851-2
Sir Ahmed Salman Rushdie is an Indian-born British-American novelist. His work often combines magic realism with historical fiction and primarily deals with connections, disruptions, and migrations between Eastern and Western civilizations, typically set on the Indian subcontinent. Rushdie's second novel, Midnight's Children (1981), won the Booker Prize in 1981 and was deemed to be "the best novel of all winners" on two occasions, marking the 25th and the 40th anniversary of the prize.
Shame is Salman Rushdie's third novel, published in 1983. This book was written out of a desire to approach the problem of "artificial" (other-made) country divisions, their residents' complicity, and the problems of post-colonialism when Pakistan was created to separate the Muslims from the Hindus after Britain gave up control of India.
The Satanic Verses is the fourth novel from the Indian-British writer Salman Rushdie. First published in September 1988, the book was inspired by the life of the Islamic prophet Muhammad. As with his previous books, Rushdie used magical realism and relied on contemporary events and people to create his characters. The title refers to the Satanic Verses, a group of Quranic verses about three pagan Meccan goddesses: Allāt, Al-Uzza, and Manāt. The part of the story that deals with the satanic verses was based on accounts from the historians al-Waqidi and al-Tabari.
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"Long years ago, we made a tryst with destiny. Now the time has come when we shall redeem our pledge - not wholly or in full measure - but very substantially. At the stroke of the midnight hour, when the world sleeps, India will awake to life and freedom. A moment comes, but rarely in history, when we step out from the old to the new, when an age ends, and when the soul of a nation, long suppressed, finds utterance."
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Indian English literature (IEL), also referred to as Indian Writing in English (IWE), is the body of work by writers in India who write in the English language but whose native or co-native language could be one of the numerous languages of India. Its early history began with the works of Henry Louis Vivian Derozio and Michael Madhusudan Dutt followed by Rabindranath Tagore and Sri Aurobindo. R. K. Narayan, Mulk Raj Anand and Raja Rao contributed to the growth and popularity of Indian English fiction in the 1930s. It is also associated, in some cases, with the works of members of the Indian diaspora who subsequently compose works in English.
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Abdulrazak Gurnah is a Tanzanian-born British novelist and academic. He was born in the Sultanate of Zanzibar and moved to the United Kingdom in the 1960s as a refugee during the Zanzibar Revolution. His novels include Paradise (1994), which was shortlisted for both the Booker and the Whitbread Prize; By the Sea (2001), which was longlisted for the Booker and shortlisted for the Los Angeles Times Book Prize; and Desertion (2005), shortlisted for the Commonwealth Writers' Prize.
The Boyhood of Raleigh is an 1870 painting by John Everett Millais in the collection of the Tate Gallery. In the painting, Millais depicts famed Elizabethan-era explorer Walter Raleigh and his brother on the Devonshire coast listening to a Genoese sailor pointing out to sea and telling the pair of "tales of wonder on sea and land".
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Saleem Sinai is the protagonist of the Booker Prize-winning novel Midnight's Children by Salman Rushdie. His life is closely intertwined with the events that take place in his homeland of pre- and post-colonial India, and newly created Pakistan and Bangladesh. He is born at the moment in time when India and Pakistan emerge from British rule and lives during the new tumultuous struggles that engulf the new nations following 15 August 1947. Sinai embodies these physical struggles and rifts during, and serves as a metaphor for, the spiritual, religious, political and intellectual traumas of the young nations.
The 2008 film Slumdog Millionaire has been a subject of discussion among a variety of people in India and the Indian diaspora. Some film critics have responded positively to the film. At the same time, others objected to issues such as Jamal's use of British English or the fact that similar films by Indian filmmakers have not received equal recognition. A few notable filmmakers such as Aamir Khan and Priyadarshan have been critical of the film. Author and critic Salman Rushdie argues that it has "a patently ridiculous conceit."
Sinai is a surname. It is a Portuguese-style spelling of the Konkani surname Shenoy or Shenai. This spelling originated from Goa on the West Coast of India. It is also an Arabic and Hebrew surname and masculine given name derived from Mount Sinai. In the United States, the 2010 Census found 367 people with the surname Sinai, making it the 55,841st-most-common name in the country. This represented an increase from 277 people in the 2000 Census. In both censuses, about eight-tenths of the bearers of this surname identified as white, one-tenth as Hispanic, and three percent as Asian. The Sinai families in India belong to the Brahmin caste.
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Midnight's Children is a 2012 film adaptation of Salman Rushdie's 1981 novel of the same name. The film features an ensemble cast of Satya Bhabha, Shriya Saran, Siddharth, Ronit Roy, Anupam Kher, Shabana Azmi, Kulbhushan Kharbanda, Seema Biswas, Shahana Goswami, Samrat Chakrabarti, Rahul Bose, Soha Ali Khan, Anita Majumdar and Darsheel Safary. With a screenplay by Rushdie and directed by Deepa Mehta, the film began principal photography in Colombo, Sri Lanka, in February 2011 and wrapped in May 2011. Shooting was kept a secret as Mehta feared protests by Islamic fundamentalist groups.
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