‘Second phase- Plot construction in Chatterjee’s fiction’


In this article it has been tried to show the heart of the matter of Chatterjee’s fictions. The crux of the problem in his succeeding fictions lies in the plot construction. The initiation of new stories, the use of apt and befitting authorial voice, the omniscient narrator, etc. brings new dimension in his novels. Indeed, if we look at the novels of Upmanyu Chatterjee, we find that crisis-consciousness is writ large in every nook and corner in the novels. Crisis-consciousness is not a new phenomenon; rather the term was generated in the first decade of the twentieth century. The most random of the term was done by the modern writers, poets, and essayists. The term was gaining its momentum in the hands of Ezra Pound, Amy Lowell, Rupert Brooke, T.S. Eliot, Virginia Woolf, James Joyce, and even H.G. Wells. The particular phrase is largely related to Freud’s ‘interpretations of dream and Jung’s theory of the unconscious.’ The on growing industrial revolution in the twentieth century Europe especially England resulted in a sort of a vacuum in the society. The break-down of values down from the Victorian era was also responsible for the sort of purposelessness which looms large in modern man. From 1900 until the First World War literature especially poetry in England wavered between two worlds not sure of its path. The loss of belief, the restlessness, and the cyclic journey, the aimlessness in modern man were depicted in a literature also. Crisis-consciousness is a dilemma which runs into the heart of a modern man.

Keywords: Indian fiction, Upamanyu Chatterjee's style in his novels

Unique Article ID: IJELLR-118

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