Indian literature, as we know it today, is an umbrella term that encompasses all works written on the

Indian subcontinent, including works in Sanskrit, Prakrit, Pali, Tamil, Telugu, Persian, Urdu, and a variety

of other languages. However, defining the term "Indian Literature" is an arduous task that many have

attempted in the past. But when we talk of a secular and diverse nation like ours, it is very superficial to

discuss a handful of works from one or two of the many disciplines in the nation that has also displayed

profound scope of what we call the Indian spirit in writing.

Despite the fact that they are over two thousand years old, Indian literary writings only cover a small

segment of the vast social order. The Indologists have been fixated on the thoroughly established Indian

culture and civilization, which has an inbred Sanskrit bias and a small love for Persian, since the

beginning. However, the entire one-sided narrative leaves so many gaps in our understanding of the

nation's literature, whose primary and foremost identity is that of a Secular State, that it is difficult to

comprehend the genuine portrayal of the nation's literature.’

Every language is more than just a means of communication. It is also inextricably tied to its people's

lifestyles, their culture, and mental functioning. Languages have a strong influence on their

imaginations. As a result, when it comes to portraying Indian life and experiences in these terms,

English, a language with strong ties to another faraway country and its culture, falls short. When looked

at the reality of Indian literature, one can see a compulsive need to put up a uniform front, i.e.,

homogenize the literary scenario.

Since the Imperialists acquired control, the Indian subcontinent has been a fascinating and unique place

in which various scholars and Indologists have attempted to examine and analyse its true meaning.

When it comes to defining what constitutes Indian literature, however, Indologists chose one or a few of

the best Indian languages with a wider reach. The study, which is frequently dominated by colonial

powers, is skewed, and provides no opportunity for diversity.

The oversight and inconsistency of the genuine representations are so obvious that it is impossible to

dismiss them as a minor oversight. It is unthinkable that any scholar would deliberately ignore the rich

and varied aspects of Indian culture. The Colonial division of history, which is based on the dominating

rulers of a specific period, is the most prominent example. The divide itself is a serious flaw that leaves a

slew of other rulers and sub-sections in the dust.

There is no consistency between what these Indologists claim and what they present in their books.

While they boast about their modernist approach, it rarely looks at any faction that does not fit into the

prevalent tendencies. As a result, the exclusion of regional languages, customs, and some social groups

clashed with their preconceived notions of old Indian wisdom contained in languages like Sanskrit or

Persian. When we discuss globalisation and inclusivity, there is a significant disparity between

minorities, real representation, and gender perspectives.

During the nationalist movement, Indian English novels were crucial in establishing and

promoting the concept of nationhood and identifying national themes. In this sense, depicting the

spirit of a united India rather than regional and cultural distinctions necessitated the creation of a
cohesive, uniform idea of nation. Furthermore, the image of a one, united India had to be

conveyed to foreign nations. As a result, homogenization aims to blur internal divisions while

emphasizing differences with other countries. However, it also implies a disdain for internal

cultural differences.

As Aijaz Ahmad, one of the most outspoken critics of English language’s primacy in literary

studies in general and postcolonial studies, points out, English is now “for better or for worse,

one of the Indian languages” that must be studied in essence. It is commonly contended that,

unlike the novels written in indigenous Indian languages, the anglophone literature of India has

no ‘tradition’ to speak of, no literary-historical genealogy or movement that is intrinsic to its

evolution or sense of self.

A.K. Mehrotra has recently observed that Indian literature is ‘piecemeal and ragged’ and one

‘whose writers have seldom acknowledged each other’s presence’. While India’s

history of the anglophone novel might be described as both constrained (developed over a period

of 150 years) and uneven, without distinct genealogies or intertextual influence, it is also

possible to exaggerate the lack of a literary community or even shared influence in Indian

history.

While globalisation and the desire for a unique identity have compelled writers to take charge of their

regional tales, the actual debate continues. Despite its modernization, the phrase "Indian Literature"

tends to bow down to those in positions of authority.

India is a country where people’s identities are multi-layered. Their daily activities and

professions are determined by their religion, caste and complex social stratification. An even more

sensitive issue is the proliferation of mutually incomprehensible languages and dialects, not

to mention, their variations. Considering that an English-language writer is targeting an

international audience, a homogenization of the Indian experiences, ideas and imaginations

becomes inevitable.

All of the aforementioned arguments lead us to the one pertinent self-reflexive question: ‘What is

India(n)?’ In a world where Indian identity is in question, how can we possibly define Indian

Literature? In one of Raja Rao’s essays, he mentions the difficulties of writing in English which

is an alien language to him. The extent to which an author can effectively communicate the

implications vary from author to author.

The problem, then, is not to ‘invent’ an Indian literature. It is already there for all those who try to

go beyond appearances, though it has yet to be translated into concrete. What

Indian literature needs right now is an alternative genealogy that may go beyond the orientalist

canon and back to the deepest sources of our popular creativity. This is what necessitates truly

multidisciplinary literary studies, places a premium on comparative literature, and emphasises

the importance of a comprehensive history of Indian literature.