Making a ‘Once-upon-a-Time’ Mythology in Kazuo Ishiguro’s The Buried Giant

Kazuo Ishiguro’s challenging novel, The Buried Giant, embodies how contemporary writers and readers have to discover the voices buried in our history. By avoiding setting or connecting the modern and contemporary historical incidents such as World War II this time, Ishiguro ventures into retelling myth, transfiguring historical facts, and revealing what has been forgotten in a process of establishing history and creating mythology. As generally known, modernist writers in the twentieth century employed materials from authorized classical mythologies, especially Greek mythology. As an heir of this tradition, Ishiguro imposes his mission of criticizing the repeatedly occurring yet easily-forgotten history of dictatorship and a slaughter on mythology based on King Arthur and its related heroes and myths in Britain. On an open ground, Ishiguro can start his own mythical story and space.

Challenging the Stereotypes: A Critical Study of Chotti Munda and His Arrow and Sula

Mahasweta Devi and Toni Morrison are the two stalwarts of the Indian English and the Afro-American literature respectively. The writings of these two novelists are authentic and powerful records of the lives of the people because much of their personal experiences have gone into the making of their works. Devi, a representative force of the Indian English literature, is also a social activist working with the tribals of Bihar, Jharkhand, Orissa and West Bengal. Most of her works echo the lives and struggles of the subalterns as is evident in her “best beloved book” Chotti Munda and His Arrow. The novelist focuses on the struggle of the tribals against the colonial and the feudal powers to create their own identity, thereby, embarking on the ideological project of ‘setting the record straight’. The Nobel Laureate Toni Morrison, on the other hand, brings to the fore the crucial issues of gender, race and class in many of her significant works. In one of her representative works Sula, the protagonist emerges as a non- conformist and directly confronts the notion of a ‘good woman’ nurtured by the community of the Blacks. In addition to this, the struggle of the Blacks against the White domination, also become an important theme of the text. The thrust of the paper lies in making a critical analysis of the portrayal of the heroic attempts of the subaltern protagonist and the artistic endeavor of the novelists in challenging the stereotypes.