History is a crucial element in almost all of the Postcolonial and Postmodernist writing. The way in which history is approached in postcolonial writing is rather complex. Thus on the one hand, history is entirely denied as a concept by the postmodernists who disbelieve in the objective existence of a fixed reality and a fixed, orderly arrangement of things. Secondly, history is combated as one of the instruments used for dominance and colonization. The certainty with which the imperialists oppress the colonized peoples comes from the historical backdrop, which is the equivalent of a fixed and unchangeable account of facts and events. The notion of "subaltern history" then comes to replace or supplant the common views of the past as they were constructed by the dominant races or nations. An alternative view of the historical past is thus given by the members of culturally subordinated groups.
             Salman Rushdie's Midnight's Children and Arundhati Roy's The God of Small Things are two celebrated Postcolonial Indian novels that have much in common. Thus, the most important and almost striking similarity is the view they share of history and their attempt to create alternate perspectives on reality. Both texts blend the political, macrocosmic events with the personal, microcosmic lives of their characters. History as an objective arrangement of causes and effects is deconstructed through conceptual as well as formal means. In terms of form and structure therefore, both narratives jump back and forth in the present and the past, effectively rearranging history and memory to produce a new perspective of reality. The use of magical realism also contributes to the deconstruction of history.
             Thus, the tight connection between the individual and the larger historical and political reality is well rendered in Midnight's Children. Saleem Sinai, the main character in the novel is one of the one thousand miraculous ...