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Manimekalai all chapters Chapter I Introduction To-day the themes of the Indo ?? Anglian novel are many and varied K B Vaid commenting on the themes of the Indian novelist says that his thematic preoccupations are ? portrayal of poverty hunger and disease

Chapter I Introduction To-day the themes of the Indo ?? Anglian novel are many and varied K B Vaid commenting on the themes of the Indian novelist says that his thematic preoccupations are ? portrayal of poverty hunger and disease portrayal of widespread social evils and tensions examination of the survivals of the past exploration of the hybrid culture of the dislocations and con icts in a tradition ?? ridden society under the impact of an incipient half ?? hearted industrialization ? Some others themes of the novel in English are inter ?? racial relations the Indian national movement and the struggle for freedom partition of India and the death destruction and su ?ering caused by it ? Depiction of hunger and poverty of Indians Indian rural life con ict between tradition and modernity continue to engage the attention of the novelist The theme of the confrontation of the East and the West has been successfully dealt with by Rajo Rao Balachandr in Rajan Kamala Markanadaya and many others The younger novelists display an increasing inwardness in their themes The themes of loneliness of rootlessness the exploration of the psyche and the inner man have been dealt with by Anita Desai in her two latest novels Cry the peacock and Voices in the City and by Arun Joshi in his The Foreigner The Indian novel in English is thus characterised by a variety of themes and techniques It continues to change and grow and adapt itself to the changing Indian environment Social political technological and industrial changes have brought corresponding changes in its substance However in the ?eld of characterization the Indian novelist in English has not been quite so successful With some exceptions his characters C continue to be stereotypes The problem of creating ? round ? three dimensional ?gures has not been successfully tackled so far Even novelists like Mulk Raj Anand despite all their psychological insights are de ?cient in this all ?? important aspect of the art of a novelist As K B Vaid points many Indian novelists have failed to create adequately individualised characters Further the novelist even today is sometimes carried away by the lure o creating the image of a romantic and glamorous India the India of Rajas and Maharajas and of mystic saints and sadhus who can achieve miracles Thus Anand in his private life of a Prince and Malgonkar in his The Princes portray the splendours of royal life during its last days and Kamala Markandaya in her Possession presents weird picture of a mysterious India Such novels distort reality and the novelist must guard himself against this danger R K Narayan is now regarded as one of the greatest of Indians writing in English He is the most artistic of the Indian writers his sole aim being to give aesthetic satisfaction and not to use his art as a medium propaganda or to serve some social purpose as in the case with Mulk Raj Anand As is the custom in