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Magphur Past, a Detective Novel, with an Accompanying Critical Commentary Examining the Challenge of Character Development in a Multi-Focal Narrative

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Magphur Past, a Detective Novel, with an Accompanying Critical Commentary Examining the Challenge of Character Development in a Multi-Focal Narrative Barry Howes. 1225218. A Thesis in Two Parts: Magphur Past, a detective novel, with an accompanying critical commentary examining the challenge of character development in a multi-focal narrative. Barry Howes. A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of PhD. Submitted July 2020. Barry Howes. 1225218. Acknowledgements. Many thanks to the great tutorial team of Dr. Colette Paul and Laura Dietz who were always prepared to give constructive help, advice and encouragement at every meeting. Discussing detective fiction on these occasions was a real pleasure and their presence on my journey towards completing Magphur Past gave me new insight into the art of writing. I must express my gratitude also to my Indian friends in Jalandhar. Thanks for so many memories of teaching alongside them and of exploring the streets of the city and beyond. My eternal gratitude to Diana and Amy, my family, for their immense patience as I was writing this thesis. i Barry Howes. 1225218. Anglia Ruskin University Abstract. Doctor of Philosophy. Magphur Past: a novel. and Magphur Past, a detective novel, with an accompanying critical commentary examining the challenge of character development in a multi-focal narrative. Abstract This thesis is in two parts: a novel and a critical commentary. Magphur Past is a detective novel set in a contemporary Indian city, Magphur. This place is an imaginative interpretation and extension of my experience and memories of Jalandhar. In my novel, detective Sharma investigates the murder of a European tourist whilst struggling with his guilt at having participated in a murder during his youth. The narrative form of Magphur Past is multi-focal. Each character in turn is the focaliser of a linear plot through the medium of free indirect discourse. The aim of this thesis is to examine the challenges which this narrative choice brings to character development and the effect of these challenges on the construction of a detective story. After discussing features of multi-focalisation – with reference to the work of Genette, Todorov and Friedman - I identify and discuss the pattern which my mapping of Magphur places on the plot and on the range of character views. I defend my use of free indirect discourse when defining character voice and refer to the work of Bakhtin, Zhongwen and Moretti before highlighting this medium’s use in the detective fiction genre. The creative dialogue between writer and character is of central importance here. I move to a discussion of place as a force which brings the novel’s perspectives together. I draw on the writing of Propp, Greimas and Malmgren to identify the features of the detective and the assistant before examining this genre trope, and the development of the main detective’s character, in the context of multi-focalisation. Throughout this thesis, I see multi-focalisation as a narrative method which can stretch accepted genre boundaries of detective fiction. Key Words: Crime fiction, focalisation, multi-focalisation, multi-perspectivity, chronotope, polyphony, heteroglossia. ii Barry Howes. 1225218. Table of Contents. • Magphur Past, a detective novel………………………………… p. 1. • Introduction to the critical commentary…………………………..p. 272. • Chapter 1. An overview of the narrative pattern of Magphur Past and the use of multi-focalisation in detective fiction ……………………………p. 275. Multi-focalisation, multi-perspectivity and the novel’s chronotope ………….. p. 275. Polyphony, heteroglossia, free indirect discourse and dialogue ……………….p. 283. Multi-focalisation and free indirect discourse in detective fiction …………….p. 295. • Chapter 2. Magphur: a meeting place for characters’ perspectives. The creative dialogue and a sense of place ……………………………………………...p. 303. The city and the creative dialogue ……………………………………………..p. 304. Character perceptions of Magphur …………………………………………….p. 308. The workplace in Magphur Past ………………………………………………p. 320. • Chapter 3. The Detective and the Assistant: a plot driving relationship in a multi-focal narrative …………………………………………….p. 327. Detective Fiction: the traditional form and multi-focalisation ……………….p. 327. The detective and the assistant: moving towards multi-focalisation …………p. 334. The detectives and the assistants in Magphur Past …………………………..p. 347. Sanjay Sharma: the creation of a detective in a multi-focal narrative ………..p. 354. • Conclusion………………………………………………………... p. 361. • Lists of references, meetings and influential texts………………... p. 365. iii Barry Howes. 1225218. Magphur Past. iv Barry Howes. 1225218. Magphur Past. Prologue. Always the same nightmare. The surroundings change – flowing, colours crossing and mixing like a wild bhangra dance – from temples, sunlit crowds and market stalls to the dark, empty labyrinth of the old city. He walks down the hot alley. All windows and doors are closed and yet he can hear their voices – whispering, accusing. His uniform is soaked with sweat as he moves steadily towards the glow of the fire. As he draws closer to his fate, leaping shadows cover the walls. He stops at the alleyway which leads off to his left. This is the part of the maze which offers him the chance to escape but he passes the alley’s entrance and walks on. Soon he is standing within touching distance of the flames, facing his fear. A scream cuts through the roar of the fire. His voice? Then he starts to fall forward into the inferno. Harsh hands grab him from behind and make him stand upright. With eyes that weep and burn, he looks through the licking flames and sees the dancing silhouette. No need to see the man’s face, he expects the words to be spoken through the familiar, hateful smile. “Welcome back, Sanjay. We have been waiting ... Kutha!” Sanjay feels the hands pushing him towards the voice, through the flames. When he wakes up, he knows the screams are real and that they belong to him. 1 Barry Howes. 1225218. Chapter One. Surbjit. “Namaste, Surbjit.” He’d been looking towards the group of sweating tourists when he heard the voice and knew without looking that it was Onkhar, the boy who’d left spit on his face when they’d been at school together. The classroom seemed a long time ago but the bully still looked dangerous. “Namaste.” Out of the corner of his eye could see more of them – Satpal, Majhid, Dipu, - coming out from the streams of passing people. The old schoolyard gang, bigger and still together. Their smiles weren’t friendly and he knew it was time for the chase again. He looked left and right, seeking an escape from the threats and the money demands which would come. So far he’d been too fast for them … “I think you have money from the stall, Surbjit.” Onkhar stepped closer, his right palm held open. Then he was running, fear forgotten, mind and body working together. These were his streets, his alleys, but those behind him knew them too. He’d spent too long looking at tourists. Business would come later … if he escaped in one piece. He could hear his own breath, the shouts of those he pushed past, as he threw himself into the market crowd, bracing his shoulders and arms, ready for the angry fists – dodging, ducking, weaving like a mad dancer. No time to think of what Onkhar and the others would do to him in the hidden corners of Magphur. They’d learned new skills since leaving school. The two policemen looked over the crowd as they walked together. Trying to look calm and ordinary, controlling his breath, he slowed and moved behind them. Protection, for a while. After stopping to look back, and seeing none of the gang, he ran on just as one of the policemen turned to look at him. He switched on his smile for the man before running on. 2 Barry Howes. 1225218. The noises, the voices and the vehicle horns wrapped themselves round him as did the colours which blazed amidst the yellowy grey dust clouds thrown up by the whining and roaring vehicles. The market was his place. He understood its ways, its pleasures and its dangers. Watching for Onkhar and the others, he saw Sunil, the street vendor, the tray of kati rolls held cleverly on his head, and sidestepped him neatly. He’d not eaten since leaving his parents’ home that morning and the food smells made him want to stop, to reach out and grab, but he pushed this feeling to the back of his mind. Sunil was a friend and there’d be no stealing from him. The crash made him look behind to see people scattering amongst stones and splinters. A lorry had backed into a newly built wall smashing the boxes of fruit which had been placed on it. Arms waved and men swore as fruit rolled and bounced through the road’s dust. Some was smeared beneath bare feet whilst more disappeared into pockets and under clothes. Money still changed hands nearby. Buying, selling, dealing … nothing could ever stop business. The gang must have gone in search of different pickings but he still felt eyes watching him. Maybe the crashing lorry, the spilled goods, would take Onkhar’s attention. Stooping to pick up a mango, he stepped nimbly over the sharp stones of the fallen wall to throw himself into the shadows behind the stalls. More cover here. People greeted him and he waved without looking at them as his eyes swept the crowd from the shady safety. Vanisha, selling her bangles, smiled at him and he relaxed. How could she hope to make a living by selling just bangles? On his stall you could buy all sorts of things: belts, linen, clothing, picture frames … He was proud of the growing business and he should be there now. Smiling calmly, but still watching, he stepped again into the white sunlight and continued his journey.
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