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This paper explores the aspect of polyphony in Salman Rushdie’s novel Midnight’s Children (1981). The essence of polyphony in a novel, following Mikhail Bakhtin, is the presence or use of different independent voices that are not merged into one dominant voice. The author, the protagonist, the narrator, the various other characters, the reader, the form and the content of the text, and even the voices from the world outside the text, all these participate in the polyphony. We are invited to explore multiple, co-existing meanings rather than to find a single, finalized meaning. In our age of rapid changes in concepts, styles, modes of representation, and technology, it is more profitable to direct our attention to multiple realities rather than to look for one definitive, unchanging meaning. Since the entities engaged in the polyphony take on different roles and voices in different contexts of time, space, and culture, the voices we hear in the polyphony multiply. We come to see that reality can have different meanings. Reading a novel such as Midnight’s Children as a polyphony or dialogue among different voices can serve as an analogy for a mode that we can adopt in our attempts to understand reality

Polyphony of midnight’s children: dispersion of voices and genres in Midnight’s Children