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Pickering, are two-dimensional. Williams reserves special praise for Two Virgins, and its heroine Saroja. 4. East-West Confrontation in the Novels of Kamala Markandaya. HARISH RAIZADA. 37- 70. 5. Kamala Markandaya's Style. RAMESH K.SRIVASTAVA. 71-92. See SRIVASTAVA, Six Indian Novelists. (1987) above. 6. The Mask That Does Not Hide: A Perspective on Nectar in a Sieve, P.SHIV KUMAR. 93-97. 7. The Fictional Epic on Indian Life: A Study in Theme and Technique of Nectar in a Sieve, HARI MOHAN PRASAD. 98-104. 8. Some Inner Fury: A Critical Perspective, S.KRISHNA SHARMA. 105-118. 9. A Silence of Desire: A Closer View. EDWIN THUMBOO. 119-149. See THUMBOO, "A Silence of Desire" JIWE no.8 (1980) above. 10. Possession: A Consideration, C. V. VENUGOPAL. 150-53. 11. A Tryst with Conscience: A Handful of Rice K.VENKATA REDDY. 154-62. See REDDY, Major Indian Novelists (1990) below. 12. The Coffer Dams: A Critical Study. K.MADHAVI MENON AND A.V.KRISHNA RAO. 163-85. 13. The Nowhere Man: An Analysis. V.RANGAN. 186-97. 14. Two Virgins: A Problem Novel. K. S. RAMAMURTI. 198-207. See RAMAMURTI, "Two Virgins" Littcrit 7, no.2 (1981) above. 15 The Golden Honeycomb: A Critcal Appraisal. A. N. DWIVEDI. 208-220. 16. Image and Symbol Pattern in Kamala Markandaya's Novels. F. A. INAMDAR. 221- 239. Inamdar discerns a common image pattern underlying all of Markandaya's novels: house imagery (which branches into images of the tannery in Nectar in a Sieve), city imagery, jungle imagery, imagery of animals and insects, and imagery of darkness and light which merges into colour imagery. Isolated images occur in later novels, like cycle imagery (A Handful of Rice), the mask (The Golden Honeycomb), and characters as images (The Nowhere Man). 17. Kamala Markandaya's Narrative Technique. S.Z.H.ABIDI. 240-47. Kamala Markandaya employs the first person narrative in Nectar in a Sieve and Some Inner Fury,with the central character as narrator. Possession, too, is in the first person, but the narrator Anasuya is only a minor participant in the action. The later six novels all employ the omniscient author techniaque, but differ in subtle manipulations of the point of view. Markandaya's novels generally follow a chronological narrative, though there are occasional flashbacks
18. Structure in the Novels of Kamala Markandaya. V. B. GUBATI. 248-62. Studies the structure of Markandaya's novels in terms of the motifs, dynamic and static, and the leitmotifs. The majority of the motifs in Nectar in a Sieve are static; the leitmotif "nothing" conveys the idea of the futility of the poor man's struggle, and links up with the title. In Some Inner Fury, the leitmotif is violence, "fury". A Silence of Desire has a well knit structure dominated by static motifs. The structure of Possession is weak because of the choice of narrator, though the leitmotif "possession" throws light on all relationships in the novel. Unity of structure is achieved in A Handful of Rice through the leitmotif "rice". Static motifs underlying the plot and characterisation make The Nowhere Man an organic whole. Gulati feels that the structure of the next three novels is loose. Bibliography. 263-66. PRASAD, HARI MOHAN. "The Quintessence of Kamala Markandaya's Art." Commonwealth Quarterlv no.9 (1978): 173-85. Overview of her novels, in terms of theme and language. Nectar in a Sieve presents a ruthlessly realistic picture of rural poverty. A Handful of Rice is another variant of this theme of hunger, in an urban setting. Two Virgins is about the growing up of Saroja. Possession, The Coffer Dams, and The Nowhere Man are explications of East-West encounter In narration or language, Markandaya has little proneness to experimentation. RAMAMURTI. K. S "Kamala MarkandayaJs Two Virgins: A Problem Novel." Litcrit 7, no.2 (1981): 36-45. Two Virgins does not live up to the standards set by Markandaya's earlier novels. It has no well-defined central theme, and the language is dull and monotonous. The action of this picaresque novel is linear, little dependent on character or environment. There is no sharp differentiation in character between the narrator Saroja and her elder sister Lalitha. The vagueness of the location and the strange names detract from the realism of the narrative. It reveals the author's excessive preoccupation with sex in its coarsest form. Two Virgins is an interesting study on the themes of escape and initiation. Another merit of the novel is its use of symbols. RAO, A V. KRISHNA. "Kamala Markandaya and the Novel of Sensibility." The Indo- Anglian Novel and the Changing Tradition. (Mysore: Rao and Raghavan, 1972): 50-67. Rao presents an analysis of the way the first four novels of Kamala Markandaya reflect the consciousness of change, and the strange and inescapable ways it has come to shape the character of individuals. Markandaya has evolved a fictional technique which keeps in perfect balance the reality of the world outside and that of the individual within. Unlike Mulk Raj Anand, she lets her characters grow into society. She presents a complex pattern of interaction between the individual and the aggregate of humanity in terms of symbols, especially in A Silence of Desire and possession. RAO, A. V. KRISHNA. "Continuity and Change in the Novels of Kamala Markandaya." Perspectives on Kamala Markandava, edited by Madhusudhan Prasad (Ghaziabad: Vimal Prakashan, 1984): 1-25. Primarily thematic study, though Rao pays attention to linguistic style and plot structure. Markandaya's accent is on the drama of life, not ideology. She explores the impact of change in terms of human psychology. Her fiction reveals cultural continuity in the midst of social, economic and political change in modern India. The first three novels are preoccupied with the national self-image in various foci. Possession, the fourth novel, probes an alien
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Bibliography of Criticism of Indian
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Corrects and contests the statement
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DWIVEDI, A.N. "Re-creating 'The Liv
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ASNANI, SHYAM. "Socio-Political Con
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dismissing any criticism of it as "
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GUPTA, G.S. BALARAMA. Mulk Raj Anan
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Character study of Bakha based on C
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the writer’s ‘own terms’. 3)
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Chinua Achebe. The fundamental guid
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Forster: A Centenary Volume New Del
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Reveals the later and more complex
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SUDHAKAR, PREMILA PAUL. "Major Them
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DEVY, G.M. "Sri Aurobindo's 'Source
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Perseus is primarily an instrument
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RAMAMURTI, K.S. & KAMALANI N. “Sr
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BHATNAGAR, O.P. "Urbanity and Rural
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BHATT, P.N. "The Impact of Gandhi o
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SHARMA, K. K.Bhabani Bhattacharya:
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Chattopadhyaya, Harindranath GUPTA,
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An appreciative close reading arran
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Chinmoy, Sri BENNET, MEREDITH. "The
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REDDY, P. BAYAPPA. "Asif Currimbhoy
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INAMDAR, F.A. "K.N. Daruwalla's Poe
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the external world of phenomena”
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Heinemann, 1980: 201-07. Also Atlan
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AFZAL-KHAN, FAWZIA. "Genre and Ideo
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KIRPAL, VINEY. "An Image of India:
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PRASAD, MADHUSUDAN. "Anita Desai's
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KUMAR, SHIV K. "Desai's Games at Tw
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Page 102 and 103: Criticism ABIDI, S.Z.H. Kamala Mark
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Page 112 and 113: onslaught on the autochthonic cultu
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Page 116 and 117: widely used. Light humnour is almos
Page 118 and 119: Close readings from The Nine Enclos
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Page 124 and 125: poetry, "the audience, enveloped in
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Page 130 and 131: to the real problems of life; in he
Page 132 and 133: JUSSAWALLA, ADIL. "One Woman's Poet
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