It would not be too much of an exaggeration to claim that, with the odd and honourable exception (such as Amitav Ghosh's The Calcutta Chromosome), the current Indian English fiction boom-boom depends heavily on two distinctive 'narrative styles' — a kind of domestic realism and a kind of magic realism. Rohinton Mistry, Kiran Desai, Vikram Seth (in A Suitable Boy), Arundhati Roy (to an extent) and so many others usually paint in a more or less 'realistic' idiom on a middle class domestic canvas. On the other hand, Salman Rushdie, Vikram Chandra, Rukun Advani and a few others take recourse to various devices of magic realism even when their framework remains a kind of middle class domesticity. There may
Khair, Tabish, The Rape of Parwana: Mukul Kesavan's Inscription of History and Agency, Kunapipi, 22(2), 2000.