Iris Murdoch

Iris Murdoch, born Jean Iris Murdoch in Dublin, Ireland, in 1919, was the only child of John Wills Hughes Murdoch, a British civil service employee, and his wife, Irene Alice Richardson Murdoch, who abandoned her hopes of being an opera singer to marry at the age of eighteen. Although the family resettled in England during Iris’s first year and she grew up outside London, in Hammersmith and Chiswick, she maintained a strong allegiance to Ireland and considered herself Anglo-Irish.

Murdoch spent holidays in Ireland with her Gaelic relations. An only child, she fantasized about having siblings, notably about having a brother, although as she matured, she realized that had she had a brother, the family’s limited resources probably would have been spent to send him rather than her to the university.

Murdoch’s early education was in the environs of London. At the age of thirteen, she qualified for a scholarship, one of two awarded, to the Badminton School in Bristol. After finishing Badminton, she received a scholarship to Oxford University’s Somerset College, where she studied classical literature and philosophy. She also was quite involved in drama and the arts during her years at Oxford. She was granted a bachelor of arts degree with first class honors in 1942.

Only twenty years old when Britain was plunged into World War II, Murdoch completed her university studies but then worked for the British Treasury in London. She served as an assistant from 1942 until 1944, and she learned enough about the structure of Britain’s civil service to write about it convincingly in some of her subsequent novels.

Later, she became an administrator for the United Nations National Relief and Rehabilitation Administration. She served in London and, at war’s end, in Belgium, where she met Jean-Paul Sartre; she also served in Austria, where she worked at an encampment for displaced persons, an experience that helped her create the character of Nina, a displaced dressmaker facing deportation to Eastern Europe, in The Flight from the Enchanter (1956).

Upon her return to England, Murdoch spent a year doing little save for reading philosophical works and exploring London, whose byways she uses effectively in many of her novels. In 1947, she received a fellowship to study philosophy at Cambridge University’s Newnham College. After completion of her studies, she was a tutor in philosophy at St. Anne’s College, Oxford, until 1963.

In 1956, Murdoch married John Oliver Bayley, the Thomas Warton Professor of English Literature at Oxford and also a successful novelist and critic. In 1963, she became an honorary fellow of St. Anne’s College. She served as a lecturer at the Royal College of Art in London from 1963 until 1967.

By 1962, Murdoch had published six novels. Under the Net (1954) was the first of these, followed by The Flight from the Enchanter, The Sandcastle (1957), The Bell (1958), A Severed Head (1961), and An Unofficial Rose (1962). She was soon to embark on a project with J. B. Priestley, who collaborated with her on turningA Severed Head into a play that opened in London in 1963, was produced in New York City the same year, and was released as a film by Columbia Pictures in 1971.

Life’s Work

From the beginning of her professional career, Murdoch’s consuming intellectual interest was moral philosophy. Well schooled in the history of philosophy and in ethics, she was as comfortable discussing Plato and Aristotle as she was in writing about Jean-Paul Sartre and existentialism, which she did in her landmark study Sartre: Romantic Rationalist, published by Yale University Press in 1953. Her novels consistently explore the moral questions with which she grappled as a philosopher and as a university lecturer in philosophy.

During her university days, Murdoch, who leaned to the left politically, went so far as to join the Communist Party briefly, as many intellectuals did in the late 1930’s and early 1940’s. Her past membership in the Party resulted in her being denied a visa to study in the United States when she was granted a scholarship in the late 1940’s.

Murdoch was intrigued by the theory, advanced by Austrian philosopher Ludwig Wittgenstein, that all people build their own nets, or structural protocols, in their lives. Murdoch had been exposed to the existentialism of Sartre and Albert Camus, with its emphasis on the meaninglessness of human existence. This approach is based on the notion that humans exercise free will and that the individual is all-important.

Although Murdoch denied that she was an existentialist, she imbibed a great deal from this school of thought, which, combined with Wittgenstein’s notion of how people seek to structure their lives, emerges as a dominant theme in many of her novels. The title of her first novel, Under the Net, refers directly to Wittgenstein’s theory that individuals create their own nets or structures. The protagonist, Jake Donaghue, seeks to find a structure for his life, but finally he rejects the net and accepts life as it is, acknowledging the significance of other people while denying the centrality of self. This first Murdoch novel, which reflected much of the hopelessness that Britain experienced following World War II, evoked considerable discussion and resulted in the author being widely recognized as a writer of note. The book was commended by most of the leading critics of the day and brought its creator considerable attention both within Britain and beyond its boundaries.

In Under the Net, which is dedicated to Raymond Queneau, Jake Donaghue displays two novels prominently on his bookshelf: Samuel Beckett’s Murphy(1938) and Queneau’s Pierrot mon ami (1943; Pierrot, 1950). Murdoch publicly acknowledged her considerable debt to both Queneau and Beckett, whose comic ironies are not unlike those in this first Murdoch novel.

(source:http://www.enotes.com/)

A & P by John Updike

“A & P” is a short initiation story in which the young protagonist, in a gesture of empty heroism, quits his job at the supermarket because the manager has embarrassed three girls—and learns just “how hard the world was going to be to him hereafter.”

Most of the action in the story takes place in the short time Sammy stands at his cash register on a summer afternoon watching three girls from the nearby beach colony, dressed in “nothing but bathing suits,” wander the store in search of a jar of “Fancy Herring Snacks in Pure Sour Cream.” By the time the three reach his checkout stand, Sammy is halfway in love with their leader, a girl he nicknames “Queenie,” who has “nothing between the top of the suit and the top of her head except just her.” Sammy is attracted to the girl not only by her physical beauty but also by her regal bearing and by her clear disdain for small-town mores. Sammy is highly sensitive to the class differences between “the Point,” where the three are apparently vacationing (“a place from which the crowd that runs the A & P must look pretty crummy”), and the supermarket where he works (where “houseslaves in pin curlers” push shopping carts up and down the aisles, followed by squalling children).

Sammy’s fantasies are rudely interrupted when Lengel, the officious supermarket manager (and Sunday school teacher), notices and reprimands the girls for their dress: “We want you decently dressed when you come in here.” Queenie blushes, and Sammy jumps to their defense in the only way he can: “I say ’I quit’ to Lengel quick enough for them to hear, hoping they’ll stop and watch me, their unsuspected hero.” They do not, and Sammy is left to confront Lengel. “You didn’t have to embarrass them,” he says. Lengel explains, in defense of the town’s provincial mores, “It was they who were embarrassing us.” Lengel reminds Sammy that his impulsive action will hurt his parents and that he will “feel this” for the rest of his life, but Sammy is trapped by his own chivalric gesture, and by the romantic code of which it is a part and by which he swears: “It seems to me that once you begin a gesture it’s fatal not to go through with it.” Remembering how Lengel “made that pretty girl blush,” Sammy punches “the No Sale tab” on his register and walks out into the hot and empty parking lot.

(Sourcehttp://www.enotes.com/:)

Literary Terms for English

Literary Forms (fiction) - many novels are written in more than one form, and there are many more forms than we will study in English 6. This is a beginner's sampling.

1. Historical fiction - a "made up" story which has as setting a specific and recognizable historical time period which could not have been during the author's lifetime. These novels and stories often include characters and places which are historically accurate, and many include historical documents as well. Examples of historical fiction are: Dragonwings, The Whipping Boy,Proud Taste for Scarlet and Miniver.
2. Documentary fiction - a "made up" story which uses a collage of documents, in addition to dialogue and narration, to help to tell the story. Some documentary fiction you will read as an adult uses actual news stories, letters, diaries, etc., but the story is the author's invention. Example: Nothing But the Truth.
3. Science fiction - originally, a story which used the science of the future as a major element of plot or setting. This meaning has been stretched to include all future or utopian, time travel, space, alien contact, and dimension travel stories, as well as to include some elements of fantasy.  Examples: A Wrinkle in Time, The Giver, many stories by author Ray Bradbury.
4. Folklore, folk tale, fairy tale - originally "oral tradition stories,"  memorized and passed from person to person through the telling, these tend to have messages for the listener to decipher and definite similarities in plot, characters, and settings. You study these stories in Lower School. In Middle School, you need to remember them and watch for "folklore" elements to appear in your reading. Examples of books rich in folklore references: The 13 Clocks, The Magic Circle, Haroun, The Other Side of Silence.
5. Realistic Fiction - novels and stories which are "real" in that they take place in a time and place like a present, or recent past, time and place, have plots which are possible, and have characters which are believable as real people. Examples: Hatchet, Shabanu.
6. Fantasy - fantasy novels and stories cover a wide range of "real-unreal" plots, characters and settings. Some identifying characteristics are: animals as characters, magical events, imaginary beings as characters. Fantasies often involve a search or quest of some type and ask the reader to temporarily believe in the possibility of events and characters.  Examples: Alice in Wonderland, The Story of the Amulet, The Wizard of Earthsea, The Hobbit, Watership Down.
7. Mystery - a mystery novel contains a puzzle and challenges the reader to join the detective character who eventually solves the puzzle. Collecting clues is a vital skill for mystery readers. Examples: The House of Dies Drear, The Westing Game, The Hound of the Baskervilles.

Techniques of the Writer or Story Teller

• The Rule of 3 - Things happen in 3's. You should be on the lookout for: 3 related events, 3 connected characters, 3 rules, 3 punishments, 3 objects, 3 relationships which are compared and contrasted.
• Types of characters:
  • Major or Minor:
    Major characters appear throughout the novel, or in a major section of it - they are involved in the important actions and conflicts.
    Minor characters enter the novel for a specific reason and may then not be heard of again - or they may exist throughout the novel "in the shadow" of the major character - they may be involved in a conflict with a major character and are essential to the plot, but only so that something can be learned or shown about the major character.
  • Round or Flat:
    Round Characters have many sides - they grow or change in several ways - they think and react on many levels - they are central to the story, its conflicts, and its final message - we care about them and tend to react along with them to the things that happen.
    Flat Characters have only one side - they may be major characters, but they do not change - flat characters are important to a story because the round character(s) interact with them - we often see them only as the round characters see them and care about them because a round character does - we may feel strongly about a flat character because he/she is a strong and consistent representative of Good or of Evil.
• Narrative Focus - The character around whom the story moves - we often see only those events which this character witnesses - if we see events which do not involve the narrative focus, we are anxious about how the events will impact upon this character. 

• Narration - There are 3 ways of telling a story:
  • 1st person - "I" tells the story and is a character in the story; this can be present tense or past tense.
  • 2nd person - "You" is used to tell the story; these tend to be like Choose Your Own Adventure stories or computer games and are usually in the present tense.
  • 3rd person - "He, she, it, they" - the story is told by someone, usually not identified by name, who knows it. Usually in the past tense.
• Types of Narration - An author has to decide how much the narrator knows about the people and events in the story.  A narrator, 1st or 3rd person, can be:
  • Limited - The narrator only knows what he/she experiences or learns about in some way- the narrator's knowledge grows as the story unfolds; at times, the reader may know more than the narrator.
  • Omniscient - The "all knowing" narrator knows all of the details about events, characters, etc. and reveals them to the reader as the story unfolds.

Figurative Language - In general, this is a way of using words to make imaginative connections in the reader's "inner eye." These connections can be called images. As you learn to recognize and appreciate figurative language, your appreciation and ability to actively read good writing will increase. These are the types of figurative language on which we will concentrate this year:

• Metaphor - the comparison of two unlike things to suggest things which they have in common - for example: Joe is a lion on the playing field would compare Joe to a lion in how he moves, his aggression, his animal-like actions, his skill and strength, his leadership.  When you identify a metaphor, you have to dig deeply to find all of the layers of possible meaning.
• Simile - a comparison of two unlike things using like or as - for example: Sue flits through life like a moth in a room of candles compares Sue to a delicate, fluttering moth which is drawn to fire and raises an image of both delight and confusion, perhaps also mindlessness and upcoming death or failure.  Like a metaphor, a simile can seem obvious, but it is usually telling you something about a character or setting if you are willing to dig a little deeper.
• Personification - the description of an inanimate object as if it were a human being or an animal - for example: The kite tugged and pulled at the string, longing for the freedom of the skies gives the kite human actions and a motive for them. In using personification the author asks the reader to identify with the object or character viewing it more deeply than would be possible in a simple description.
• Extended metaphor - a paragraph or longer of description which builds upon an initial metaphor, often bringing several of the senses (sight, sound, touch, hearing, taste) into play. This is often used by an author seeking to make a point in a setting description or seeking to create a character for the narrator or narrative focus (e.g.: imaginative, naive, fanciful, terrified)
• Hyperbole - an obvious and unrealistic exaggeration - for example: His gaping jaw could hold a flock of the King's fattest sheep indicates excess and perhaps a fearful or highly imaginative narrative focus. A good way to identify hyperbole is to ask yourself the old tall-tale question: Just how [tall, wide, hungry, lazy, angry...] was he/she/it?
• Onomatopoeia - use of a word which sounds like it means - for example: plunk, zip, buzz, bong, zap all have meaning which is reinforced by the sound of the word. Repetition of onomatopoeic words is used by authors to create a mood or tone and to convey sense impressions (e.g. motion, touch, sound)
• Pun - a word which has several meanings, all of which apply; puns are often based on sound, so homophones and homonyms have to be though of as well - for example: In Induction I of Taming of the Shrew the bum Sly states "I smell" when testing to see if he is awake; he can smell, but he also does smell. Puns are generally a source of humor, but they can also be cruel or unkind. Lewis Carroll is very fond of puns and uses them to good effect in Alice.
• Oxymoron - a phrase which contains opposite elements or words with opposite meanings, yet which expresses one idea when taken as a whole - for example:  Bottom says in Midsummer Night's Dream, "I'll speak in a monstrous little voice."

Literary Vocabulary

• Setting - time (date, time of day, season) and place - a piece of writing will generally have many settings and each setting will generally carry with it a mood or atmosphere.
• Plot - what happens, concretely, as though it were placed on a history time line.
• Incident - one specific thing which happens in a plot.  Many short stories are basically one incident described in detail.
• Theme - the answer to this question: What is this all about?   Themes tend to be the author's message about important human conditions or problems, such as Good and Evil, Death, Freedom, Bondage, Hope, the Quest, Heritage, Believing, Family, Relationships, The Role of Women in Society. The Theme Statement is your one sentence summary of what the author or the work (novel, story, poem, play) has to say about an overall theme - for example: A theme of the novel Dragonwings is that the support of family is essential in a good life.Stories, plays and poems will have more than one theme about which you can formulate more than one theme statement. But be careful - you must be able to support a theme statement with specific evidence from the story, play or poem itself. Another expression for theme of a poem is the abstract meaning.
• Mood or atmosphere or tone - the overall feeling created by a piece of writing. Mood can often be described in a few words, such as scary, lonely, empty, triumphant, anxious, but you must be able to refer to specific details in the description, setting, or passage to defend your word or words.
• Dialogue - a discussion or conversation between two or more characters.  Most dialogues follow the rules of punctuation. Do not confuse dialogue with a play script. Dialogue is part of, or sometimes all of, a story or novel and this is what you should write when you asked to write a dialogue.

• Monologue - one character alone  talking to the reader/audience/to himself. A monologue in a play is called a soliloquy and finds the character alone on the stage, often speaking about a decision, plan, or other internal conflict.
• Interior monologue or internal monologue - a character thinking to himself. The author will often begin this by saying: He thought, he was thinking, she imagined...
• Malapropism - substitution of "fancy" or "pompous" words, often opposite to the intended meanings or meaningless, for a correct word - for example:  in Midsummer Night's DreamBottom says, "We will rehearse most obscenely (seemly?) and courageously." 
• Character traits of a character - what type of person is this? Character traits are revealed through actions, dialogue, internal monologue, and by the author or narrator directly.
• Motive - why a character does what he/she does. Motives are often feelings or logical conclusions, but can be also impulse based upon the actions or words of another. Every action has a motive.
• External Conflict - a fight, argument, disagreement or simply opposition in which 2 sides are present. Characters, themes, ideas, forces can all be in conflict. Conflicts are stated this way:Joe vs. Sue, man vs. nature, love vs. hate, freedom vs. bondage, free vs. caged, beautiful vs. ugly. Be sure that both sides of the vs. are the same part of speech and that they are, in fact, nearly opposite or in opposition in the book. An external conflict is shown through actions (fight, argument, physical struggle), character traits (a good and a bad character), dialogues, descriptions - just about anything.  Identification of conflicts will lead you to theme. The resolution of the external conflict will advance the plot toward the climax and the end.
• Internal Conflict - an argument or decision-making process within one character's mind. An internal conflict is stated this way: Should I swallow my pride and go visit my son, or should I wait until he comes to me with an apology? An internal conflict has a motive and its resolution is important to the development of the plot.
• Plot diagram
  1. Introduction or Exposition - setting, characters, main conflicts are introduced to the reader; this is the beginning of a novel or story and may be short or long, but is always flat (little action or emotion).
  2. Rising Action - the round characters are developed, the conflicts are increased and acted out in many ways, motives are introduced, things happen; generally, the major part of a novel or story.
  3. Climax - the "high point" of a story in which the major conflicts erupt in some kind of final showdown (fight, argument, violent or physical action, very tense emotional moment...); at the end of the climax, the "winner" will be clear (there is not always a winner!).
  4. Falling Action - what events immediately follow the climax; a kind of "cleaning up."
  5. Resolution - where everything ends; the reader may have some sense of "closure" or may be asked to think about what might come next; in fairy tales, the Happy Ending; in some novels, you will read about the characters many years later.
• Irony - There are 3 types of irony which you need to know:
  • Irony of situation - when the reverse of the expected happens or when the person you least expect to do something, does it - for example: It is ironic that Cinderella gets the prince; it is ironic in Dragonwings that the Chinese own and are able to rebuild houses upon the land denied to them by the Demons; it is ironic in Dragonwings that Black Dog dies in the same manner that he tries to kill Moon Shadow.
  • Dramatic irony - when the viewer or the reader is aware of a situation of which the character(s) are not aware - for example: In Romeo and Juliet the reader knows that Juliet is not really dead, but Romeo does not know this. Another example is when the audience knows that Lysander is "drugged" into loving Helena, but he does not know this.  Dramatic irony can be a source of tragedy, of comedy, or of tension.
  • Irony of language - when a name or description refers to or suggests the opposite of truth - for example: In Dragonwings the leader of a fierce brotherhood/gang is called Water Fairy. The irony is not just that the name is inappropriate, but that it was earned in an inappropriate way. Irony of language is often used for humor, but it can also be cruel or sarcastic. The name of the character Lefty, in Dragonwings, is as ironic as his situation.
• Coincidence - something which happens by chance. Authors use coincidence to advance the plot, to create and resolve conflicts, and sometimes just for humor or to startle the reader.
• Mirroring or parallels - A character or incident mirrors another character or incident when the two follow similar plots, act in similar ways or contain similar elements or traits. Remember, though, that a mirror image is also opposite - left is right. So one mirror character may be rich, the other poor; one relationship may end happily, the other unhappily. Authors use mirrors to add depth to stories and to increase the reader's interest in and appreciation for the characters and their situations. Mirrors are used frequently on situation comedy shows - watch for them!

• concrete meaning - in a poem or story, what happens, in one sentence if possible. For example:

  • Upon my bed
    Lies the bright moonlight
    Like frost upon the earth.
    
    Lifting my eyes,
    I see the bright moon.
    Closing my eyes,
    I see home.         (from Dragonwings)

  The concrete meaning is this: The narrator is in a strange bed at night and the light of the moon makes him think of home.

• abstract meaning - the theme or message of the poem or story. This has to be based on the concrete meaning, upon what is actually in the poem, and should also take conflicts into consideration.  For example:

  In the poem above, the abstract meaning might be: Loneliness and homesickness are cold feelings, but we are warmed by our memories of home.

• literal vs. figurative meaning - relates to the meanings of words and phrases or expressions. For example, "She was all ears" has a figurative meaning (She was listening intently) as well as a literal meaning (Her body was composed of ears or she had a huge set of ears). Lewis Carroll and other authors use and confuse the meanings to create nonsense and humor. In some novels, characters who are literal-minded are a source of ridicule.

Terms more specific to the way poets use words: see also John McIlvain's Introductory Poetry Terms

• The Form of a poem - The elements of form are number of lines, rhyme, rhythm, number of stanzas, and (for us) rules of grammar (standard or nonstandard).
• Stanza - a group of lines of poetry, like a paragraph, set off usually by a blank space. Poets create stanzas for a reason. The lines belong together.

• Rhyme - The repetition of sound, almost always to achieve an effect or to create a rhythm. 
  end rhyme is the repetition of the end sounds of the words at the ends of lines of poetry;
  near rhyme or off rhyme or slant rhyme is not quite true or pure - "tree" rhyme with "hurry";
  internal rhyme rhymes a word in the middle of a line of poetry with a word elsewhere in the line.
• Rhythm - is the beat or pattern of stressed and unstressed lines.  We will try to identify patterns this year.  For example, read the following lines out loud.  The pattern is shown under the words.
  
  Many poems do not use rhythm.

• Free verse - poetry which does not have a regular rhythm, rhyme scheme, or form. Some free verse poems also do not use punctuation or capitalization, or they otherwise break the rules of grammar.
• Fulcrum of a poem - Poems, like stories, are built upon contrast and conflict. The fulcrum is that point in the poem in which the contrasting or conflicting ideas, images, or moods are resolved - one wins out.   A fulcrum is often the most emotional line or lines and often carries the clue to meaning.
• Alliteration - The repetition of sound within a line of poetry (or prose).  We will watch for two types of alliteration:
  assonance - the repetition of vowel sounds (a, e, i, o, u, ou, ea, etc.) - "I wore a fleecy green jacket easy and tall."
  consonance - is the repetition of consonant sounds at the beginning of words within a line of poetry - "Slanting silver slits of rain."
• Couplet - two lines of poetry which are a self-contained unit, often rhyming and often one sentence (but not always).

                       (Source: http://www.leasttern.com/)

Important Books & Authors

No. Books Authors 01 My experiments with Truth Mahatma M.K.Gandhi 02 Far from the Madding Crowd Thomas Hardy 03 Geetanjali Rabindra Nath Tagore 04 One Day in the Life of Ivan Denisovitch Alexander Solzhenitsyn 05 The Merchant of venice William shakespeare 06 The Moon and Six pense Somerset Maughan 07 Pilgrim's Progress from this world to that which is to come John Bunyan 08 A Tale of Two Cities Charles Dickens 09 Utopia Sir Thomas Moor 10 Origin of species charles Darwin 11 David Copperfield Charles Dickens 12 A passage to India E.M.Forster 13 Gulliver's Travels Jonathan Swift 14 Discovery of India Pandit Jawaharlal Nehru 15 The Vicar of Wakefield Oliver Goldsmith 16 The Decline and Fall of the Roman Empire Edward Gibbon 17 The Lady of the Last Minstrel Sir Walter Scott 18 Pride and Prejudice Jane Austen 19 Time Machine H.G. Wells 20 Arthashastra Kautilya 21 Le Contract Social Jean Jacques Rousseau 22 Avigyan Sakuntalam Kalidas 23 Anand Math Bankimchandra Chattopadhyay 24 Mein Kampf Adolf Hitler 25 Ain-i-Akbari Abul Fazal 26 Akbar-Nama Abul Fazal 27 Shakuntala Kalidas 28 War and peace Leo Tolstoy 29 A Dangerous place D.P. Moynihan 30 Raghuvamsa Kalidas 31 Adventures of Sherlock Holmes Arthur Conan Doyle 32 Adventures of Tom Saweyer Mark Twain 33 Agni Veena Kazi Nasrul Islam 34 Alice in Wonderland Lewis Carrol 35 Ancient Mariner Coleridge 36 Animal Farm George Orwell 37 Anna Karenina Tolstoy 38 Antony and Cleopatra Shakespeare 39 Arms and the Man G.B.Shaw 40 Around the World in eighty days Jules Verne 41 Baburnama Babur 42 Ben Hur Lewis Wallace 43 Bhagwat Gita Ved Vyas 44 Bisarjan R.N.Tagore 45 Canterbury Tales Chaucer 46 Chitra R.N.Tagore 47 Count of Monte Cristo Alexander Dumas 48 Crime and Punishment Dostoevsky 49 Das Kapital Karl Marx 50 Divine Comedy Dante 51 Dr.Jekyll and Mr.Hyde Stevenson 52 Don Quixote Cervantes 53 Dr.Zhivago Boris Pasternak 54 For whom the Bell Tolls Ernest Hemingway 55 Forsyte Saga John Galsworthy 56 Freedom at Midnight Dominique Lapierre 57 Gathering Storm Winston Churchill 58 Geet Govind Jaya Dev 59 Gora R.N. Tagore 60 Hamlet Shakespeare 61 Harsha Charit Bana Bhatt 62 Hunchback of Notre Dame Victor Hugo 63 Hungry Stones R.N.Tagore 64 Illiad Homer 65 Invisible Man H.G.Wells 66 Ivanhoe Walter Scott 67 Jungle Book Rudyard Kipling 68 Kadambari Bana Bhatt 69 Kidnapped R.L.Stevenson 70 King Lear Shakespeare 71 Kumar Sambhav Kalidas 72 Last Days of Pompeii Bulwar Lytton 73 Les Miserable Victor Hugo 74 Life Divine Shri Aurobindo 75 Mahabharata Vyas 76 Man and Superman G.B.Shaw 77 Meghdut Kalidas 78 Mother Maxim Gorky 79 Odyssey Homer 80 Oliver Twist Charles Dickens 81 Othello Shakespeare 82 Panchatantra Vishnu Sharma 83 Paradise lost John Milton 84 Pickwick Papers Charles Dickens 85 Plague Albert Camus 86 The Post Office R.N.Tagore 87 Principia Issac Newton 88 Ramayana Valmiki 89 Robinson Crusoe Daniel Defoe 90 Shah Nama Firdausi 91 Shape of things to come H.G.Wells 92 Three Musketeers Alexander Dumas 93 The Tempest Shakespeare 94 Tom Sawyer Mark Twain 95 Treasure Island R.L.Stevenson 96 Ulysses James Joyce 97 Uncle Tom's Cabin Mrs.Harriet Stowe 98 Waste Land T.S.Eliot 99 Nineteen Eighty-four George Orwell 100 Sunny Days Sunil Gavaskar 101 Faust Goethe 102 Arabian Nights Sir Richard Burton 103 The City of Joy Dominique Lapierre 104 The One Day Wonders Sunil Gavaskar 105 Silas Marner George Eliot 106 Bachelor of Arts R.K.Narayan 107 China Passage John Kenneth Galbraith 108 A Suitable Boy Vikram Seth 109 A Voice For Freedom Nayantara Saigal 110 A Week with Gandhi Louis Fisher 111 A Woman's Life Guy de Maupassaut 112 Age of Reason Jean Paul Sartre 113 Asian Drama Gunnar Myrdal 114 The Bubble Mulk Raj Anand 115 Ben Hur Lewis Wallace 116 The Castle Franz Kalka 117 Chandalika Rabindra Nath Tagore 118 The Class Erich Byron 119 The Clown Heinrich Boll 120 Comedy of Errors William Shakespeare 121 Communist Manifesto Karl Marx 122 Confessions Jean Jacques Rousseau 123 The Court Dancer Rabindra Nath Tagore 124 Death of a City Amrita Pritam 125 Decline and Fall of the Roman Edward Gibbon Empire 126 Essays of Gita Sir Aurobindo Ghosh 127 French Revolution Thomas Carlyle 128 Ganadevata Tara Shankar Bandopadhyaya 129 Glimpses of World History Jawaharlal Nehru 130 The Godfather Mario Puzo 131 Grammar of Politics Harold T.Laski 132 Guide R.K.Narayan 133 Hindu View of Life Dr.S.Radha Krishnan 134 Hungry Stones Rabindra Nath Tagore 135 India Divided Dr.Rajendra Prasad 136 Jurassik Park Michael Crichton 137 Kidnapped Robert Louis Stevenson 138 Richard Nixon Leaders 139 Mahatma Gandhi Romain Rolland 140 The Masters C.P.Shaw 141 My Truth Indira Gandhi 142 Old Man and the Sea Earnest Hemingway 143 The Other Side of Midnight Sindye Sheldon 144 Pride and Prejudice Jane Austen 145 Shape of Things to Come H.G.Wells 146 Sons and Lovers D.H.Lawrence 147 Treasure Island R.L.Stevenson 148 Valley of Dolls Jacqueline Susann 149 Wealth of Nations Adam Smith

(source:http://www.worldgeneralknowledge.com/)