Like his Shame, her novel is partly a protest against South Asian prudery which stands in the way of love. More importantly, her novel is filled with the same sort of insistent foreshadowing as occurs throughout Midnight’s Children, and like Rushdie (and models Günter Grass and Gabriel García Márquez) uses an incongruously jaunty tone to relate tales of horror and tragedy. Particularly notable here are such typically Rushdean stylistic tricks as capitalizing Significant Words and runningtogether other words. Roy often denies in interviews that she has been influenced by Salman Rushdie, but it is difficult to see how she could have avoided his influence, pervasive among younger South Asian writers. Roy’s novel was published 1996, quickly became a best-seller, and won the prestigious Booker Prize in October, 1997.
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