Abstract
Recent Indo-Anglican literature has also seen a burgeoning of the genre of urban crime fictions set against the backdrop of India’s modernizing metropolises. While explorations of the contemporary Indian city mostly consists of non-fictional, journalistic writings, like Katherine Boo’s Pulitzer winning book Behind the Beautiful Forevers, William Dalrymple’s City of Djinns and Suketu Mehta’s Maximum City, the genre also includes fictions like Altaf Tyrewala’s critically acclaimed debut novel No God in Sight, Vikram Chandra’s bestseller Sacred Games, Tarun Tejpal’s The Story of My Assassins, Hrish Sawhney’s volume of short stories Delhi Noir, Atish Tasser’s The Templegoers and others, which deal with the dark underside of the cities. Significantly, as rapid urban growth deepens existing disparities, a distinct rhetoric conflating impoverishment and criminality emerges, further justifying the exclusion of certain sections from the vision of urbanism. This paper looks at the representation of Delhi in Tarun Tejpal’s novel The Story of My Assassins, as a dystopic space riddled with contradictions of.
Highlights
Recent Indo-Anglican literature has seen a burgeoning of the genre of urban crime fictions set against the backdrop of India’s modernizing metropolises
While explorations of the contemporary Indian city mostly consists of non-fictional, journalistic writings, like Katherine Boo’s Pulitzer winning book Behind the Beautiful Forevers, William Dalrymple’s City of Djinns and Suketu Mehta’s Maximum City, the genre includes fictions like Altaf Tyrewala’s critically acclaimed debut novel No God in Sight, Vikram Chandra’s bestseller Sacred Games, Tarun Tejpal’s The Story of My Assassins, Hrish Sawhney’s volume of short stories Delhi Noir, Atish Tasser’s The Templegoers and others, which deal with the dark underside of the cities
This paper looks at the representation of Delhi in Tarun Tejpal’s novel The Story of My Assassins, as a dystopic space riddled with contradictions of
Summary
Recent Indo-Anglican literature has seen a burgeoning of the genre of urban crime fictions set against the backdrop of India’s modernizing metropolises. The transformation of the Indian cities like Delhi, Mumbai, Bangalore from just cities to what Saskia Sassen terms as “global cities” as the crucial localized nodes in the network of global capitalism (Note 1) has been attempted through various processes of neoliberal urban re-structuring, whose comprehensive goal has been to relocate the city space as a site that prioritizes both market-oriented economic growth and the consumption practices of the elite class.
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