MIDNIGHT’S CHILDREN

SALMAN RUSHDIE

Introduction
Midnight’s Children, one of the most victorious novels written by a renowned author Salman
Rushdie, was published in 1981. To say that this piece of art won many awards and received
an immense critical acclaim would be an understatement. It won the Best of the Booker prize,
earning the reputation of being the best novel that has been given the prestigious Booker
award.
Historical context
The history of Salman Rushdie
Salman Rushdie was born on 19 June 1947, two months before India gained its
independence from Britain. He originated from an affluent family who lived in Bombay. His
father was a businessman who graduated from the Cambridge University and his mother was
a teacher. The Rushdies were Muslims, but very liberal when it comes to their viewpoint on
other religions and nationalities. After the Partition of India, many Muslims immigrated to
Pakistan, but the Rushdie family decided to stay at their home in Bombay. When Salman was
13, he attended a school in London and at very early age he encountered racism: “Of course, I
knew that racism is not confined to British. I come from a society where racism is
commonplace, between one Indian community and another. But you have to combat racism
wherever you find it.”3 Therefore, already in his early age his thoughts were directed at
different types of racism. After studying history at the Cambridge University, Rushdie moved
to Karachi, Pakistan, where his family immigrated in the meantime. Even though he found a
job at the television, with his European-educated mind, he had difficulties accepting
censorship that prevailed in all the aspects of Pakistani life in regard to religion. As a result,
he moved back to London. The binaries that were presented in his personal life when it comes
to his origin and his personal sense of belonging were the inspiration for the central plot of
Midnight’s Children. Goonetilleke writes that: “Rushdie is the kind of cloven writer produced
by migration, inhabiting and addressing both worlds, the East and the West, the world of his
mother country and that of his adopted country, belonging wholly to neither one nor the
other.”4 Perhaps for this reason he is the best man for the job – the job of describing the true
gist of Indian colonial history and all the consequences stemming from it.
Rushdie has been writing Midnight’s Children for five years: “He dedicated it to Zafar
as an inheritor of India’s legacy and as a sign of his own connection to it and to Islam (his son
is given a distinctively Islamic name, though he had settled down in Britain and married a
British woman).”5
It is quite obvious that Midnight’s Children is, in its greater part, an autobiography. When
asked about it, Rushdie admitted that the character of Saleem was based on Rushdie himself:
“I gave Saleem certain parts of my childhood, so essentially he lives in my house and goes to
my school. His friends are composites of people I went to school with. The school bullies
know who they are.”6In the same interview, Rushdie explained that the purpose of writing
this novel was also to highlight all the aspect of freedom, not all of them being positive: “The
idea of the Midnight’s Children was, yes, it was about my generation, but I also wanted them
to embody the possibility. The idea behind giving them magic powers if they were born in the
midnight hour was to say, “Freedom is a magical moment, and here is the potential of that
freedom.” ”7
The history of India
After the secession of the British rule over India, Britain passed the sovereign power to the
two newly formed countries – the Hindu India and Muslim Pakistan. The Partition of India
did not only bring the creation of the new countries, but also brutal conflicts which resulted in
the deaths of hundreds of thousands of people. “Never before had anything even remotely
like it been attempted. Nowhere were there any guidelines, any precedents, any revealing
insights from the past to order what was going to be the biggest, the most complex divorce
action in history, the breakup of a family of four hundred million human beings along with
the assets and household property they had acquired in centuries of living together on the
same piece of earth.”8Its consequences were also the 1965 Indo-Pakistani war over Kashmir
and the 1971 conflict over Bangladeshi independence.
The novel is politically centralised around the figure of Indira Gandhi. She was the
daughter of the former Indian Prime Minister, Jawaharlal Nehru. She was politically popular
because of various reforms she employed as well as for the Indian victory in the conflict with
Pakistan that resulted in the creation of independent Bangladesh. She declared the State of
Emergency in the country between 1975 and 1977, when she was found guilty of an election
fraud. With the State of Emergency she limited many civil rights and liberties, censored the
media and started the sterilization process. In the novel, “Under the rule of the Widow, India
is being made impotent, literally, through vasectomy and, metaphorically, too, as exemplified
by the Midnight’s Children and Saleem himself. Midnight’s children have no power, no hope
and no future.”9 Rushdie addresses Indira Gandhi as a “widow” in the novel, not only
because she was the widow of Feroze Gandhi, but also because “A widow is a figure of ill-
omen in Indian culture.”10“Midnight’s Children aims at demonising Indira Gandhi and
pursues a remarkably elaborate and persistent strategy in order to achieve this. Both the
derogatory connotations of widowhood and witchcraft are combined to create the
phantasmagorical image of the witch-like Widow who haunts the novel but who is only
disclosed at the very end as identical with Indira Gandhi.”11 Midnight’s Children aroused
considerable controversy with its publication. The novel was banned in India for the way it
depicted the Nehru dynasty. Additionally, Indira Gandhi sued Rushdie for libel and won.
India has always been characterized by the diversity of the people living in it. The
Partition was nothing else but an attempt to divide the country along the religious lines and
make the Hindu India and Muslim Pakistan. What the people aiming to do this failed to
realize is that you cannot ask the people to move to another country based solely on the
religion. What has to be taken into account is a sense of belonging, many people felt attached
to India, to the country India used to be, and in spite of that, there were forced to leave their
homeland.

Plot Summary
Salman Rushdie’s Midnight’s Children begins as narrator Saleem Sinai urgently tells the story
of his life. Born at the exact moment of India’s independence from British rule, Saleem is
inescapably “handcuffed to history,” and his own fate is intertwined with that of his nation.
Saleem’s entire body is cracking, crumbling under the stress of “too much history,” and he is
slowly dying, disintegrating into “(approximately) six hundred and thirty million particles of
anonymous, necessarily oblivious, dust.” Saleem must work fast if he is to tell his story
before he dies, and he begins with his Kashmiri grandfather, Aadam Aziz.
Aadam has just returned to Kashmir from medical school in Germany, and he is disillusioned
with his traditional Indian life. One morning, while kneeling to pray, Aadam strikes
his nose on the ground, and three small drops of blood escape from his nose. From that
moment, he vows “never again to bow to any man or god.” Soon, Tai, the old boatman, alerts
Aadam to the illness of Naseem Ghani, the daughter of a local landowner. Arriving at the
Ghani’s, Aadam finds Naseem hidden behind a large sheet with a small hole cut in the center,
and he is made to examine her through the opening. Over several years and many illnesses,
Aadam and Naseem fall in love and are finally married, and the two prepare to move to Agra
for Aadam’s new university job.
In Agra, Aadam and Naseem are witnesses to Mahatma Gandhi’s hartal and the violence of
the British military, and in the aftermath of a massacre, Aadam befriends the Hummingbird, a
Pro-Indian Muslim politician who inspires optimism throughout Agra. Aadam also
meets Nadir Khan, the Hummingbird’s private secretary, and after the Hummingbird is
murdered by assassins, Nadir takes refuge under Aadam’s floorboards, much to the dismay of
his wife Naseem, known in her marriage as Reverend Mother. While living under the floor,
Nadir falls in love with Aadam’s daughter, Mumtaz, and the two are married, spending three
blissful years together underground. Ultimately, it is discovered that Nadir is impotent, and he
is forced to divorce Mumtaz, who is left heartbroken. Mumtaz soon remarries Ahmed Sinai,
who changes her name to Amina, and the two move to Bombay after she becomes pregnant.
Ahmed and Amina buy a mansion from William Methwold, a British colonist who is
preparing to return to London after India’s independence, and they quickly move in, living
amongst the Englishman’s belongings and customs. Growing increasingly pregnant, Amina
goes into labor on the eve of India’s independence, along with another pregnant woman from
Methwold’s Estate named Vanita, the wife of a poor accordionist who entertains the residents
on the estate. Both women give birth at the stroke of midnight; however, Vanita dies shortly
after, leaving her infant son, Shiva. Alone with the two children of midnight, a midwife
named Mary Pereira switches the nametags of the children, effectively replacing rich with
poor, in her own “private act of revolution.” In the days following, Mary’s guilt is so severe
that she offers her services to Amina Sinai as an ayah to care for her infant Saleem, and she
readily accepts. Mary returns to Methwold’s Estate with the Sinais, where she continues to
keep her secret for several years before finally blurting it out, a victim of her own guilt.
As Saleem grows, it is clear that he is not a normal child. He grows too quickly, he rarely
blinks, and after an accident in his mother’s washing chest, he begins to hear voices, made
possible by his large, congested nose. The voices in Saleem’s head are the voices of the other
children born during the midnight hour of independence, the “metaphorical mirror of a
nation,” who each also happen to be endowed with different magical powers. Saleem
attempts to organize the children, creating a forum for them in his mind, but their prejudices
get the better of them, and they are unable to band together. Ultimately, it is Shiva who
succeeds in dividing the children, and Saleem is left helpless.
Saleem continues to grow and moves with his family to Pakistan. As civil unrest brews
leading up to the Indo-Pakistani War, he is again left helpless as bombs from an air-strike kill
his family. In the chaos of the bombing, Saleem is hit in the head by an airborne spittoon,
causing him to forget his name and identity. Saleem is soon drafted into the Pakistani army
and he witnesses unspeakable events, finally running away into the jungle to avoid further
violence. When he emerges from the jungle, the war is ending, India is victorious, and
Saleem is still not sure who he is. During a celebratory parade, he runs into Parvati-the-witch,
a fellow child of midnight who immediately recognizes Saleem. The two fall in love, and
when Saleem is unable to father her children, Parvati puts a spell on Shiva, and he soon
impregnates her. He quickly loses interest (as he always does where pregnancy is concerned),
and Parvati is free to marry Saleem, who has agreed to father her unborn child.
As Parvati goes into labor, civil unrest in India continues and Indira Gandhi, the Prime
Minster, declares a state of emergency. Parvati finally gives birth to a son but, sadly, she is
killed. At the same time, Saleem is kidnapped by Shiva and dragged in a van, where he is
taken, along with the other children of midnight, and forcibly sterilized during Mrs. Gandhi’s
sterilization program. Finally, Indira Gandhi’s Emergency ends, and Saleem and the other
children of midnight are released from their imprisonment. Saleem soon finds his son and he
moves back to Bombay, where he discovers that Mary Pereira is the owner of a
local pickle factory. As Saleem finishes the telling of his story, he decides to begin telling his
future, and he starts with his wedding to Padma, his companion and audience for the telling
of his story. Padma and Saleem are to be married in Kashmir; however, before they are,
Saleem finally succumbs to the cracks in his skin, and he crumbles into six hundred million
pieces of dust.

Character List
Saleem Sinai
The narrator and protagonist of the novel. Born at the moment of India’s independence and
blessed with the powers of telepathy and an uncanny sense of smell, Saleem tells his
extraordinary life story as his body begins to crumble, an account that significantly parallels
the history of postcolonial India. As a narrator, Saleem can be both unreliable and self-
centered at times.
The Brass Monkey (Jamila Singer)
Saleem's younger sister, who eventually grows up to become the most famous singer in
Pakistan, adored throughout the country.
Aadam Aziz
Saleem’s grandfather. Aadam is the patriarch of the family, a doctor and skeptic whose loss of
faith leaves what he refers to as a “hole” inside of him. Aadam falls in love with his wife,
Naseem, after only being allowed to see her through a hole in a perforated sheet.
Ahmed Sinai
Saleem’s father. A shrewd businessman who is nonetheless destined for failure, Ahmed
spends much of his marriage fighting his wife and his alcohol addiction.
Mumtaz (Amina Sinai)
Saleem’s mother, and the daughter of Aadam Aziz. Born Mumtaz, she changes her name to
Amina after her marriage to Ahmed. A loving, devoted mother, she inherits her father’s
skepticism and her mother’s determination. Despite being married to Ahmed, she is never
able to forget her first husband, Nadir Khan.
Mary Pereira
Saleem’s ayah and surrogate mother. Mary is responsible for switching Saleem and Shiva at
birth out of a misguided sense of social justice. In order to compensate for her crime, she
dedicates her life to raising Saleem.
Shiva
Saleem’s archrival. Shiva is born at exactly the same moment as Saleem. While Saleem is
raised in a loving, wealthy household, Shiva is raised in abject poverty by a single father. He
is blessed with a pair of preternaturally strong knees and an amazing prowess in war. Shiva is
named after the Hindu god of destruction, who is also the god associated with procreation.
The Widow (Indira Gandhi)
The corrupt prime minister of India responsible for the destruction of the midnight's children.
Parvati-the-witch
A real witch, and, like Saleem, one of the children born at the moment of India’s
independence. Parvati is Saleem’s closest ally as a child and later becomes his wife. Despite
her fantastic powers, she is unable to make Saleem fall in love with her and, as a result,
embarks on an affair with Shiva that results in a child. In the Hindu religion, Parvati is the
consort of Shiva.
Padma
Saleem’s devoted caretaker and future wife. Padma is as strong and down-to-earth as Saleem
is weak and dreamy. She provides Saleem with a skeptical yet patient audience.
Naseem Ghani
Saleem’s grandmother, and Aadam Aziz’s wife. After marriage, Naseem becomes known as
Reverend Mother, in part because of her religious devotion. As her husband withers away
with age, Reverend Mother grows increasingly large and powerful.
William Methwold
Saleem’s biological father. An Englishman, William Methwold seduces women with his
perfectly parted hair, which is actually a wig. He owns Methwold’s Estate, a portion of which
he sells to Ahmed Sinai. He sees his departure from India as marking the tragic end of an era.
Alia
Saleem’s aunt, and a sister of Amina. After Ahmed Sinai rejects her for her sister, Alia
harbors a lifelong bitterness and determination to destroy her sister and her sister’s family.
Hanif
Saleem’s uncle, and a brother of Amina. Hanif was once one of the most promising film
directors in India. However, his dream to create art free from melodrama and superstition
fails, and, as his career falls apart, he commits suicide.
Nadir Khan
Amina’s first husband. As a young man, Nadir Khan is the personal assistant to Mian
Abdullah, as well as a bad poet. He falls in love with Amina but is forced to divorce her on
account of his impotence. He later changes his name to Qasim Khan and becomes a
communist.
Mustapha
Saleem’s uncle, and a brother of Amina. Mustapha is the ideal, obedient civil servant. He is
so passive, he’s nearly inconsequential—a fate he takes out on his children by constantly
beating them until they have no personality left.
Emerald
Saleem’s aunt, and a sister of Amina. Emerald marries Major Zulfikar and enjoys an
opulently comfortable lifestyle. Selfish and self-absorbed, she only reluctantly comes to her
sister’s aid.
General Zulfikar
Emerald’s husband, and an important figure in the Pakistani army. General Zulfikar helps
orchestrate a coup against the Pakistani government and makes money by smuggling items
into the country. His constant abuse of his son, Zafar, eventually provokes Zafar into killing
him.
Zafar
The son of General Zulfikar and Emerald. Zafar wets himself throughout his life and is
ridiculed and abused by his father as a result.
Aadam Sinai
The biological son of Shiva and Parvati-the-witch. Saleem raises Aadam as if he were his
own child. Aadam is just three years old at the novel’s conclusion.
Picture Singh
A snake charmer, and the leader of the magician’s ghetto. Charming and diplomatic, Picture
Singh is Saleem’s closest friend. He is undone by his desire to prove himself the world’s
greatest snake harmer.
Wee Willie Winkie
Shiva’s father. Wee Willie Winkie is a poor man who earns a living by singing for the wealthy
families of Methwold’s Estate.
Vanita
Saleem’s biological mother. Vanita dies during labor.
Evie Lilith Burns
A violent, tough American girl. Evie is briefly the leader of the children living on Methwold’s
Estate, and she is Saleem’s first love.
Sonny Ibrahim
One of the children living on Methwold’s Estate. Sonny is Saleem’s best friend. He is also in
love with Saleem’s sister, the Brass Monkey.
Joseph D’Costa
A social radical who later becomes a ghost. Joseph D’Costa’s political beliefs inspire Mary’s
decision to switch Shiva and Saleem, and his ghost later compels her to confess her crime.
Commander Sabarmati
A high-ranking official in the Indian navy. After learning that his wife, Lila, has had an affair,
Commander Sabarmati shoots her, kills her lover, and then surrenders. He temporarily
becomes a national hero.
Homi Catrack
A film magnate, and resident of Methwold’s Estate. Homi Catrack has an affair with Lila, the
wife of Commander Sabarmati, and is subsequently murdered by the commander.
Lila Sabarmati
The wife of Commander Sabarmati. Lila’s husband shoots her in the stomach for having an
affair.
Doctor Narlikar
A doctor, and Ahmed’s business partner. Dr. Narlikar devises a scheme for reclaiming land
from the ocean but dies before he can implement it.
Alice Pereira
Mary’s sister. Alice eventually works for Ahmed Sinai and is responsible for Mary’s chutney
factory.
Farooq, Shaheed, and Ayooba
Three soldiers assigned to work with Saleem in the Pakistani army. Each one is eventually
killed during the war.
Narlikar Women
An unnamed, unnumbered group of “grossly competent” women who take over Dr.
Narlikar’s affairs after his death.
Mian Abdullah
A political figure before independence. Mian Abdullah is the founder of the Free Islam
Convocation, an organization dedicated to resisting the partition of India along religious
lines.
Ghani
Naseem’s father. Ghani is a blind, wealthy landowner.
Tai
An old boatman from Kashmir. Tai is a mysterious, ancient, and wise figure who remains
resentful of the world’s encroachment into his territory until his death.
Ramram Seth
A prophet who predicts Saleem’s future while Amina is pregnant.

Themes
National Identity and Postcolonialism
The novel parallels the birth and struggles of protagonist Saleem Sinai with those of India,
Pakistan, and Bangladesh post-independence. It critiques colonialism, the partition of India,
and the challenges of building a unified national identity in a postcolonial world.
Magic Realism and History
The intertwining of magical realism with historical events highlights the tension between
personal experiences and historical narratives. Saleem’s powers and the Midnight’s Children
Conference symbolize the diversity and chaotic unity of India.
Fate and Free Will
Saleem believes his life is predestined, tied to India’s history, questioning the role of
individual agency.
Fragmentation and Hybridity

Reflecting Rushdie’s own experience, the novel explores cultural, religious, and linguistic
hybridity. The fragmented narrative mirrors the fragmented nature of postcolonial identities
and nations.
Memory and Storytelling
Saleem’s narration emphasizes the subjectivity of memory and its role in shaping identity and
history. The act of storytelling becomes a way of reclaiming and reinterpreting the past.
Family and Personal Legacy
Saleem’s complex relationships with his family highlight themes of inheritance, loyalty, and
betrayal. The Sinai family’s dynamics symbolize broader societal issues like class, religion,
and generational conflict.
Symbols
Midnight’s Children
Representing the generation born at the exact moment of India’s independence, they
symbolize the potential and challenges of a new nation. Their magical abilities reflect the
diversity and contradictions within India.
The Perforated Sheet
First seen in Aadam Aziz’s love story, it symbolizes fragmented vision, limited perspectives,
and the partial understanding of truth.
The Spittoon
A recurring object that symbolizes heritage, nostalgia, and the cyclical nature of history and
family ties.
The Silver Spittoon
Symbolizes the continuity of the past, connecting Saleem to his family's history
Nose and Smell
Saleem’s oversized nose and heightened sense of smell symbolize his connection to India’s
history and collective consciousness.
The Sundarbans
The mangrove forest represents a liminal space of transformation, where characters confront
their identities and reemerge changed.
Kashmir
A paradise-turned-conflict zone, Kashmir symbolizes the loss of innocence and the impact of
political strife on personal lives.