Vol. 3, Issue 1 (2018)
A study of Mulk Raj Anand’s novels towards humanistic approach of socio discord
Author(s): Sonam Narayan
Abstract: Mulk Raj Anand has comparatively eased himself of the reformist zeal, which has been a major obsession with him and had turned his attention to remythicise contemporary reality. But curiously, accepting the first short novel, the old woman and the cow, the accepting the first short novel, the deficient in gravitas and lack the sustained vital of myth. Anand becomes resented the charge that he is a committed writer, and rightly so. He feels that he is realist, defining the body soul drama in terms of a real drama of individuals and in their fictional enactment. This, however, does not make him absolved of the charge of commitment, but rather confirms his left wing affiliations. A closer of Anand fictional corpus, reveals that Anand commitment comes out unobtrusively by the very nature of his themes he has set on hand. A lack of control or a proper restraint over his material mars Anand fiction, though one concedes that he remains a consummate artist in spite of these minor blemishes. Anand’s fictional world i.e. peopled by the individuals who have obvious choice of their own; they grope for identity in a world of pitiless cynicism, and social regimentation. Mulk Raj Anand was one of “the founding fathers” of Indian English fiction for whom the art of fiction was as important as the communication it sought to convey. This was a form which soon established itself as best suited to the Indian sensibility and as one to which Indian writers have made amazing contributions. In her essay, ‘Mulk Raj Anand and the Thirties Movement in England’ Gillian Packham perceptively notes that Anand became an essentially ‘thirties’ man in thought and sensibility and was markedly influenced by Marxism. Anand, Confining himself to Indian social ground, he makes a case in an indignant reformist way for those subjected to inhumanities perpetrated by grinding poverty, discriminating caste and class assertions and injustices meted out to women, orphans, urban labourers and the so-called “Untouchables.” It is the predicament of such characters that Anand seeks to depict in his novels. Anna Rutherford categorizes Anand’s characters in his novels into three classes, namely the victims, oppressors who oppose change and progress, and the good. It is the “victims “who are generally the protagonists in his novels and in fighting for them, despite his perceptible propagandist inclinations, he often proves to be a writer of considerable power.