When 'Midnight's Children' came out, people in the West tended to respond to the fantasy elements in the novel, to praise it in those terms. In India, people read it like a history book.
Interpretation
Different cultures interpret the same work of art in diverse ways based on their own context.
Salman Rushdie's quote reflects the divergent perspectives on his novel 'Midnight's Children', highlighting how Western audiences focus on the fantastical elements while Indian readers approach it with a historical lens. This illustrates the impact of cultural background on interpretation and appreciation of literature, revealing that the significance of a story can vary widely depending on the reader's experiences and societal context.
In practice
During a book club discussion about cultural perspectives in literature.
I've been fascinated by Machiavelli since I was very young. I've always felt that he had a bad rap from history, and that he was actually a person quite unlike what we now think of as Machiavellian. He was a republican. He disliked totalitarian government.
Killing people because you don't like their ideas - it's a bad thing.
faith without doubt is addiction
I am clearly vulnerable to these more passionate and volatile unstable relationships. I am trying to not be so vulnerable.
In India, as elsewhere in our darkening world, religion is the poison in the blood. Where religion intervenes, mere innocence is no excuse. Yet we go on skating around this issue, speaking of religion in the fashionable language of 'respect.' What is there to respect in any of this, or in any of the crimes now being committed almost daily around the world in religion's dreaded name?
Reality is a question of perspective; the further you get from the past, the more concrete and plausible it seems - but as you approach the present, it inevitably seems more and more incredible.
Literature is an investment of genius which pays dividends to all subsequent times.
I wish more Italian literature were translated and read in English. I've discovered so many extraordinary and diverse writers: Lalla Romano, Carlo Cassola. Beppe Fenoglio, Giorgio Manganelli, just to name a few.
Literature got me into this mess and literature is going to have to get me out of it.
I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.
Translations are a partial and precious documentation of the changes the text suffers.
There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.
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