Hema Malini and Dharmendra got married and there is a dialogue in the film also.'Ĭhetan Bhagat tells 's Aseem Chhabra about the real reasons behind 2 States.įor all the controversies he generates in his columns, from his random statements on Twitter (sometimes quite politically incorrect) and the fact that a large section of India's educated, liberal, intelligentsia do no care much for his writings, Chetan Bhagat is actually quite a likable guy. Ek Duuje Ke Liye was made many years ago. Therefore this paper analyses Bhagat’s novels with the perspective of cultural mixture that paves way for socio-cultural mobility in India at present.'When I wrote 2 States, people asked me why I was writing it. Their sole motif is to bring about a cultural change. The young people faces hardships in infusing their modernistic ideas into the society due to generation, communication and cultural gaps. Many times he has passionately presented how the metro generation has been a trend setter to disestablish the conventional ideas in the society. This paper encapsulates the youth of diverse India who is portrayed by Chetan Bhagat as demolishers of dead habit and aspirants for new advancement. These reverberations become the outset of the upcoming generation to patch up their life. Their belief and aspiration is to hanker for a new civilization of vertical kinesis. It should be highlighted that youngsters create a new era distilling irrelevant customs. The open minded youngsters always pursue change, clutch the socio-cultural mobility in their midst. The ideology of the present youth is to change the world into a rational entity. Drawing on theories of aesthetic, popular culture, life writing and creativity, this paper tries to analyse two novels English, August (1988) by Upamanyu Chatterjee and 2 States: The Story of My Marriage (2009) by Chetan Bhagat in order to understand the distinctive creative expression present in Indian popular fiction and to enquire the genre " s aesthetic possibilities which may be found in some of its global transformations. " While the question of Indian popular fiction " s merit as a form of young adult writing and its claim to literary status remains undecided, this genre has travelled a long way and the conclusions drawn about its imitation of Western forms does not suffice to mark its aesthetic significance. These new genres deal with the contemporary society, discuss the enhancement of entrepreneurship, easy urban relationships, and consumerism and are often termed as " chick lit ", " techie lit " or " Metro Reads. In India these are largely written by young Indians using a distinctly Indian flavour. Since 1990s, the distinction made between " high " and " low " culture via standards have been evident in the critical reception of this genre termed as " popular fiction " or " bestsellers ".
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