Salman Rushdie's narrative style reflects a blend of traditional oral storytelling and postmodern literary techniques. This duality makes it challenging to categorize him strictly as either a traditional or postmodernist writer. His works, such as Midnight’s Children, exhibit fragmented storytelling akin to oral narratives, where the narrator frequently digresses, influenced by their environment and memories. These digressions create intertextual relationships, not just between texts but also between the text and the non-textual world, a technique which is called the "grasshopper narrative” in this paper. Rushdie's Midnight’s Children is heavily influenced by both Eastern oral traditions and Western literary techniques. The narrative is interspersed with references and borrowings from other texts and traditions, creating a tapestry of intertextual and trans-textual relations. For instance, characters and motifs from Forster’s A Passage to India and Kipling’s Kim find their way into Rushdie’s narrative, creating a dialogue between these works and Rushdie’s own. Moreover, the novel’s fragmented structure and the presence of a listener, Padma, enhance its oral storytelling feel, reinforcing its connection to traditional Eastern narratives. The influence of Western authors like Günter Grass and Gabriel García Márquez is also evident. These influences blend with Rushdie’s use of magic realism and his unique narrative style. Furthermore, Rushdie’s cinematic influences and his use of film vocabulary add another layer to his complex narrative structure. Rushdie’s narrative technique is a hybrid of traditional oral storytelling and postmodernist intertextuality, creating rich, multi-layered texts that traverse cultural and textual boundaries.