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Author: Ram Avtar*, AND Dr. Pradeep Kumar Talan **,

* Research Scholar of Mewar University, (Rajasthan) (Associate Professor, English) Department of Applied Sciences & Humanities IIMT College of Engineering, Greater Noida G.B. Nagar (U. P.) India. email: **Research Guide (Professor, English) Mewar University, Rajasthan, India. email:

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Literature is the device to project human psyche in aesthetically realistic way. It delegates the writer to salve humanity from misery and melancholy. Mind is the cause of human misery. It persuades a person to weave big dreams. He spends his entire life chasing them. He forgets the real purpose of human life on the earth. The continuity of happiness is the only goal of every human being. Man finds it in the physical facilities. He fails to achieve it there. Instead, he accumulates more means that are mundane. Still, he fails to achieve it. This continues and he falls sick of trials and flunks. The moment comes when he takes life for a useless thing. He takes pleasure as if it is a sin and the main hurdle on the way to his destination (continuity of happiness). A good piece of literature soothes extra agility of the mind. Literature is capable to satisfy a person with ideal fulfillment. A person, who fails to achieve the real goal of life, attains it in the ideal world of literature. Even though, it is a kind of illusion, the literary striver finds composure and pleasure herein. It is the power of literature, which assists a man to build stairway to the heaven. Along with, the literary artist can take others on the journey to the stars –the world of brilliance and bliss. Someone asked Bessie why she writes. In reply, she commented: “I am building a stairway to the stars. I have authority to take the whole mankind up there with me. That is why I write”.1 Here she shows the power of literature. A literary artist seeks for the answers of three questions in his write-up: “One, what reasons have we to live? Second what and to what end do we live? Third, is it worthwhile living as we live? Life is what literature is all about.2 Literature is not only a sedative pill, which calms down anxiety of mind. It also works as a proactive pill, which stimulates the mind to bring innovative changes in the patriarch society. Bhagat considers literature as a provocative pill, which works as a strong stimulant to the human mind. Bhagat enthuses the youth to purge sterile dogmatism of the social system.


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A novel is a genre of literature. It is the youngest issue of literature for it came into the existence, late in 18th century. Novel is the pure produce of England. W. J. Long considers it as one of England’s most original contributions to the world. He adds further, “this form of literature or the idea of the modern novel seems to have been worked out largely on English soil”.3 However, other genres of literature such as epic, romance and drama are sown in the oriental nations. Of course, they (genres) are properly cultivated in the western countries, specifically in the soil of England. Novel is an extract of all genres of the literature. It includes the most attributes of these genres. “The novel is essentially a social form. It explores the condition of the human beings through the mental struggle and body language, quite before they get into action. It is like focusing on the stalking of the lion rather than pouncing upon the prey.”4Bhagat strives to portray the mental stirrings of his personnel. His characters read the words and foresee the action. Hence, novel is a comprehensive literary form. It is a derivative of the Italian word “novella”, which means to describe a short, compact and broadly realistic tale. It deals with ahuman characterin asocial situation, man as a social being. It places more emphasis on character, especially one well-rounded character, than on plot. Anita Singh underlines all inclusiveness of the novel. She comments, “The novel is the one literary form capable of absorbing all others (all genres of literature), it has no limits regarding style or subject, for it is tolerant and all encompassing”.5Bhagat’s The 3 Mistakes of My Life consists of a profound story decked with beautiful rhymes. It is an example of an ideal novel, which has ventured to include all the genres of the literature.

Samuel Richardson is regarded as the father of English novel. His Pamela (or Virtue Rewarded, 1741) approved novel as a separate entity of English literature. Marks of novel can be traced in Indian literature far back in the 6th century. Dandi’s Dasa Kumar Charita is known as the first novel in Sanskrit. Bana Bhatta’s Kadambari is another novel in Sanskrit of the 7th century. Kadambari has been acclaimed as “the mother of modern literature”.6 Nonetheless, these novels could not gain the accolade of the pure novel so far. Almost ten centuries later since the advent of Kadambari, the novel grew up into a plant (from a sapling) on the Indian soil with the publication of Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Still it was not a full-fledged tree.  Anita Singh writes on the descent of English novel into the Indian periphery: “Indian English novel is primarily a phenomenon that arose as a consequence of the colonial encounter in India. The pre-independence novels are generally monochromatic dealing with the movement against political subjugation or economic exploitation. But after the independence, new horizons opened up inviting the novelists to diversify their themes and techniques”.7The triune glory as Iyengar calls Bankim Chandra Chatterjee, Rabindranath Tagore and Sarat Chandra Chatterjee in unison, undertook the job to nurture the plant (the novel) in the earlier decades of its resurrection since the advent of Kadambari. They handed over the novel (as half-mature tree) in the hands of ‘The Big Three’–an epithet William Walsh coined for Mulk Raj Anand, R K Narayan and Raja Rao. The Big Three nourished the novel into the Big Tree. They established its assumptions. They sketched its main themes, freed the first models of its character and elaborated its peculiar logic. Each of them used an easy natural idiom which was unaffected by the opacity of a British inheritance. Their language freed itself from the foggy taste of Britain and transferred to wholly new setting of brutal heat and brilliant light. In their custody, the Indian English novel had begun its journey as well. The central theme of their works goes about the East-West encounter and its effect on Indian tradition. The style adopted by these pioneers was mythic and the audience was from the middle-Hinglish class. English novel was categorized based on the interest of the readers. Q. D. Leavis distinguished novel according to its target audience. “In her epoch-making critical treatise, Fiction and The Reading Public, she labelled certain novels as highbrow; fiction that everyone praised and nody reads unless it was prescribed as a text book. Then there was lowbrow fiction that everyone enjoyed reading but nobody wrote critical commentaries about it”.8With the rise of market-power, a new genre of English novel emerged out that was labelled as best-seller. The readers not only love best-seller kind of novel but also like to comment upon it.

Chetan Bhagat has merged both highbrow and lowbrow genres into one, which is now approved as best-seller genre of the Indian English literature. He has endowed the genre with healthy humour and sanguine approach to life. Like R. K. Narayan, he does not create Malgudi village and pick up the characters from here. He chooses the personnel from the real-life metropolis. His novels go around the lives of the youth. He exactly depicts their real-life pictures and entertains all class and cadre of people. Bhagat writes about the youth and specifically for the youth. However, the people of all age groups love to read him. Everyone feels as if Bhagat writes to him. He writes so simple that everyone likes him. It is reported that Bhagat’s Five Point Someone is prescribed for some tribal children. Perhaps, this has happened first time in the history that an English novel referred to the youth has been prescribed to teach English, the tribal children of the primary school. First time, Bhagat has exposed the rubbish coated with so-called wisdom-cream of the top institute of the country, IIT. Unlike Tagore and his contemporaries, Bhagat is in favour of realism in art. His artistic truth lies within sensory perception. It guides his readers to obtain self-enlightenment. Unlike Tagore, Bhagat wants both “man and truth” in literature. Character is the soul of Bhagat’s novels. The plot i.e. the story is the second important ingredient. Therefore, character is prior to the plot. His novel Point Someone was published in 2004 and is still on top selling list. It won him the Society Young Achiever’s Award in 2004 and the Publisher’s Recognition Award in 2005. His characters are social rebels who remind us the Angry Youngmen that dominated English novel in the 1950’s. His female protagonists remind us the female characters of G. B. Shaw for their vitality viz. natural female instinct. Place of action of his novels is set in the hustle and bustle of Metropolitan Indian cities where life moves at fast speed.

In Five Point Someone: What not to do at IIT (May 2004), Chetan Bhagat focuses on the lives of three friends of IIT Delhi –Hari Kumar ( the narrator), Alok Gupta and Ryan Oberoi. The trio suffers ridicule of the teachers as well as the classmates. However, they avow to reform the patriarchal system of education. They dislike the teaching method, which is as old as the college itself. The students are asked to mug the subjects in order to score good grades. Bhagat puts emphasis on the observational teaching. He believes this technique must help the students in getting rid of mugging. It must support them to apprehend the things in a natural way. The observational technique makes the students to observe the things minutely and find out solution in the objects. After all, if they fail to make it out, they are invited to discuss the same with the teachers and other classmates. At last, the student finds answer to his query. Nonetheless, such method is a good for nothing in the big sci-fi institute. Bhagat grieves for the sterile dogmatism of the education system. He finds the professors bigotry not to allow any prolific change in the system. Bhagat is straightforward in his approach to life. He listens to the voice of his soul, which he strongly believes in, is ever true. The man listening to the inner voice may suffer a big loss but finally emerges out victorious. For instance, all three friends suffer ignominy at college campus. All the teachers as well as the students take them for nuts, idiots and losers only because they underperform in the exams and notch five points something. But like others they are not muggers, they are freethinkers, true lovers of life, harbingers of innovative ideas, icons of liberty and precursors of the youth-calling-approach. They never lose confidence, work harder on the lube project and consequently their project is approved and they succeed to achieve big fame and name.  

Bhagat advises the youth not to play Eklavya, who chopped away his thumb and offered it to the teacher for not teaching him a single letter of archery. The boy learnt it with the firm will-to-learn-it anyhow. Other writers of antiquity have taught the readers to obey the order of the teachers whether it is right or wrong. Bhagat just asks the youth to listen to the voice of their heart. A bad thing is to be turned down and a good thing is to be accepted whether it comes from an intellectual or from a layman. Acceptance or rejection depends upon the nature of the thing. It should not concern the nature of the person. That is why Ryan suggests his friends a plan how to keep away from the cynicism of the teachers and enjoy the prime days of the life at the institute. He names the plan C2D i.e. “cooperate to dominate”9and all others approve it. Under the plan, each one attends one subject and others repose and rejoice in life. Bhagat’s personnel value life more than everything. Bhagat takes life for enjoyment not for repression. He advises the people “ to stop looking at pleasure and enjoyment as sin. Human life is limited and if we don’t enjoy our time here, what is the point of it”.10 This is not with other writers of seniority. They focus the suffering and helplessness of the people. Bhagat manifests the untiring efforts of his characters to come out of the slough of melancholy. He portrays his men and women as the true revellers of the human life. Adversity does not stay with them for long. It does not subdue their will to enjoy life. They very soon emerge out of it and start delighting in the life.

Unlike his predecessors, Bhagat has glorified sex in his works. He uses it to unite two families and two states. Velutha in The God of Small Things was thrashed to death because he made love with a high-class woman. Roy employs sex as a catalyst in the process of ‘sense gratification’ and especially in ‘genital satiation’. She does not elevate it to social acceptance. Bhagat hits on the hypocrisy of the people and turns them towards the Vedic interpretation of this creative energy viz. sex. He succeeds to make the young men and women openly accept it and deal with it as a mutual need for the betterment of the society. He comments on Indian hypocrisy in his blog: “We blush, pretend it does not exist, look the other way, change the topic, hate the person who brought it up and do whatever we can to avoid confronting a healthy, balanced discussion on it.”11 In fact, many say, sex is against Indian culture, a bizarre notion for a country where the great sage, Vatsayan was born. It is shameful to ignore it (sex) in the country where the people worship Kamdev, the god of love and sex. The Lord Rama was learnt to take his wife into the exile and madly loiter in her search when she is missed, and the Lord Krishna was supposed to have played raasaleela with the beautiful young maidens on the banks of the river Yamuna. Bhagat believes in sanctity of sex, that he validates referring to the Holy Scriptures of Indian culture. He says, “Our ancient texts such as the Upanishads discuss sex in an explicit manner. The Mahabharata refers to Drupadi’s polyandry. The temples in Khujaraho leave little to the imagination”.12 Bhagat seems sad over the man’s attitude changed towards holiness of the creative force of life (sex) during the span. No other writer of the past but Bhagat sanctified sex. They posted it in the harlotry. They watched it in the reluctance of the woman. They found it in the sadism of man. Sometimes, they observed it in the molestation of the children. Bhagat has installed it in the willingness of the woman. He has served it as the unifying force. His men and women perform it and break virginity knot without social rituals. At last, they either get married or committed to live together.       

First time in the history of Indian English literature, Chetan Bhagat introduced God as a cosy friend with mobile phone in his second blockbuster novel One Night @ The Call Centre (2005). A phone call from God is an additional element in his works. No novelist has presented God using mobile phone to guide his devotees in the crisis. Herein God advises his friends-cum-devotees how to come out of the iron web of death. The phone call encourages the survivors to settle account with their boss. They risk their job for the welfare of the thousands of the employees. The boss agree to cancel the pay-offs if Shyam and Vroom resign their jobs. The two friends force the boss to terminate them from their services. Shyam’s sacrifice proves him a true team leader, which results in his engagement with Priyanka.

              When a person finds no other way to come out of the death pit, he finally resorts to the arch power for the help. He listens to the fast beats of his heart. Then, he flashes back upon his wrong deeds. Such situation occurs to Shyam and his friends. All of them hang over the pit of death. With the fear of death, all struggles and all differences come to an end. The call from God on Shyam’s phone surprises him. Bhagat inputs the spiritual interlude in the novel. He tends to make the people firm and strategic in hard times. Actually, this is the call from the within of everyone. This is the call of their “will to do” or “will to live”. Shaw calls the life force (vitality) by the will-to-live in his play Back To Methuselah. Herein he comments: “Where there is a will, there is a way”.13 Bhagat places the interlude to make each realize their actual purpose in life. Bhagat advises the people to attend “the inner call”14, which is more important than many other calls a person attends in a day. This inner call is the call of vitality –a ruling power of the universe. The divine voice asks the survivors to ponder over two things –one, “Think about what you really want”15 and two, “what you need to change in your life to get it”.16Shyam wants to be with Priyanka. He needs to wake up confidence and shake off the armour of defensiveness. The inner call knows Shyam’s weak nerve. It proclaims, “Shyam has lost it (self-confidence). He is hundred percent convinced he is good for nothing”.17 Shyam admits, “I want to get my confidence back”.18The voice finds out the root of Shyam’s failing. Actually, it does not lie in him but somewhere else. It is the company. The company affects the character of a person. If a person gets to live with a criticizer, eventually he takes criticism for true. Shyam’s boss considers him a looser and he takes it for granted. On the opposite, the boss is looser. The inner call enthuses Shyam, “Don’t be scared and you will get it back”.19Shyam feels warm up with the words of so-called inner call. He decides to teach a lesson to the man, who killed a part of his life and put everyone’ job at stake. Now he turns offensive for the sake of his ladylove as well for humanity. Someone has said that when things are out of control, shake them rigorously and they will adjust automatically. A person who does not care for consequence could change the system. Such man is reverend as the philosopher-man. Shyam acts upon the call of his inner being and thus becomes the revolutionist. He with the help of his friend Varun blackmails his boss to cancel the layoffs. Besides, he suggests another source to increase the call volume of the company. Eventually, he starts his own website developing company in collaboration with his friend Varun. Thus, he proves his capability and makes himself worthy of his ladylove’s ambition. A person who does not believe in his capability, he cannot attain anything in life.

The novel exposes filth of the modelling industry. Esha was assured with a modelling contract if she sleeps with a designer for a night. She offers herself but she could not get the contract. The man turns out an opportunistic as he betrays her telling that she cannot be a model due to short height. He compensates the in-bed-deed by sending her money. She repents the deed and is haunted by a sense of guilt. Whenever the guilty conscience inflicts her, she cuts her skin with sharp blade. She believes she can atone for her guilt by punishing herself. Varun loves Esha but she does not accept his proposal due to guilty conscience. Once he finds her badly cursing herself for the filthy barren deed and consoles her. He offers to accept her for his love-sake that is quite capable to ward off her guilt. Radhika is the best example of a good housewife and deft customer care representative. She is expert in handling kitchen and managing office promptly. She looks after her old grand mother-in-law. She loves her husband very much and trusts him blindly. When she comes to know that her husband loves some other woman of Delhi, instantly breaks her relation with him and goes to Chandigarh with Esha forever. Other novelists might have discovered the creases within the makeup of the smiling faces. Bhagat has traced the shocking causes of the dried up tears in the glowing eyes of the people of the glamour world.

Bhagat’s The 3 Mistakes of My Life is a novel of the dark passion. It records the sexual audacity of the woman protagonist. It unites the three friends to preserve the national talent, Ali. This is the first time when an Indian English writer has elevated his characters above the trifles of the society such as casteism, religion and idolatry. Khushwant Singh’s Train to Pakistan depicts the horrible realities of the partition. It projects the Hindus and the Muslims slashing each other in the name of religion. Mulk Raj Anand’s Untouchable describes social ignominy Bakha suffered due to lower caste. The novel in hand mainly focuses on the venture of three friends –Govind, Ishan and Omi. The trio have vowed to portray Ali as the approved cricket talent of India. Govind is the narrator in the novel. He is the strategy maker. He is the artist-man in true sense. He believes in himself and his potentiality. He loves to do what his conscience allows him. He has been the city topper in mathematics in 10+2 exams. If he had willed to pursue an engineering programme, he could have done it successfully. However, his interest lies in business. He drops his further education and goes with business. He emerges out a true businessman. Bhagat has portrayed his characters as decision makes. Other writers of the past have delineated their protagonists subjected to the will of their parents or their boss. Unlike other writers, Bhagat advises the youth not to follow every word of their parents and the boss blindly. Revolutionary spirit of Bhagat thus appears in his comment: “Humanity wouldn’t have progressed if people listened to their parents all the time”.20This is a message to the youth for taking decision personally for their own welfare and for the humanity as well. Vidya marks at the selfishness of the most parents. They decide the future of their kids for the sake of their pseudo social image. They do not bother to invite suggestions from their children even in the crucial matters of the life. Bhagat disregards this attitude of the elders towards the younger.

Omi lives in the temple but he never realised the presence of God there. He never found mental repose and bliss in the temple. When he started business with Govind, he felt the presence of the almighty in the fatigue after the whole day travail, in serving the curious kids asking for the sport goods, and in training Ali with body building tips. Bhagat conveys God resides in the satisfaction after the arduous labour of the day. He (God) is always there with a person in his firm will-to-achieve-it anyhow. He lives in the will of the person directed to serve the humanity for no personal gains. Bhagat does not install God in the temple. He installs Him in the natural instinct of his personnel. Govind does not believe in idolatry. He, therefore, never goes to temple even though he lives within its skirts. However, he adores the supreme power with devoutness of the business. He worships Him with fidelity towards his friends. Omi supports the Muslim boy, which is against the will of his parents. He fights against his uncle and other rioters to save the life of the boy. He saves him for the sake of nation. In Ali, he saves the priceless asset of the country. He dies while fighting against the killers of humanity. Bhagat keeps humanity far above sectarianism –caste, religion etc. This virtue of Bhagat’s outlook distinguishes him from other thinkers of his age as well as of the ancient times. He finds only a human being in the people of all sects and religions. One more thing, which distinguishes him from others, is his treatment of love. His men do not chase women. The women are the chaser and the men are the chased in his novels. Vidya chases Govind. He responds to Omi thus, “ I didn’t hit on her. She hit upon me”.21Vidya has hunted him and he is the hunted. Bhagat’s women take initiative in the courtship. They steer forth the courtship until it converts into the commitment of living togetherness. The men make all attempts to avoid the snoop of the women’s charms. When they fail to exorcise vitality of the counterparts, they become passive in the game. They neither expel nor receive the stimulus. Things happen to them naturally. Govind is passive participant in the amorous pursuit. He is heard rarely to talk about Vidya when he was bedridden.   

In 2 States: The Story of My Marriage, Bhagat makes it clear that his children will be identified only as Indians not by the tag of any religion or state. He comments: “They will be Indian. They will be above all this nonsense”.22The novel projects the true spirit of nationalism. It is based on the social and amorous endeavours of two main characters –Ananya Swaminathan and Krish Malhotra. The novel is first in its content, which attempts to unite not only two states but also two traditions and cultures. It endeavours to represent the people of the nation only as Indians not as castes, religions, states etc. This is the only thing the novelist ventures to carry to the youth of his country. He advises the youth to fix marriage on the criteria: physical symmetry, education, and financial position and gender skills. He suggests one should find in one’s match four things. First, the match should be almost equal in physical properties. They (boy and girl) should be sufficiently educated. Their financial position should be considerably profound and they should be adept in their gender jobs i.e. the boy should know how to manage family expenses and a girl should know how to properly keep the house. Krish chooses to make Ananya his life partner at different levels. Krish is a north Indian, Punjabi and Malhotra. Ananya is a south Indian, Tamil Brahmin. Their parents cannot even imagine interstate relationship and thereafter inter-caste marriage. Krish attempts to change the conservative criteria of marriage: same caste, same state, and different gotra and bountiful dowry. He proves his eligibility for marrying Ananya by skilfully convincing her parents. He helps Ananya’s father in computerizing bank ledgers and making presentation slides. He helps her mother to perform with big Carnatic singers S. P. Balasubramanium and Hariharan. Thus the mother proves herself the best singer and Krish, the best wooer. He helps her brother Manjunathan to crack IIT entrance test. He wins the hearts of her parents and brother in order to win the heart of his ladylove. Thus, he proves through his ordeal that one can own anybody by tenderness of heart and agility of mind. He marries Ananya and sets an example before the youth of the country that they should choose their life partner based on the brilliant criteria above stated; not on the conservative and illogical one. One more vital feature of his novels is its lively sense of humour. The characters of the novel, even in difficult days, ward off their problems with laughter.

Revolution 2020 stands for the revolutionary spirit of Chetan Bhagat. Raghav disregards the suggestion of his father to get admission in IIT, even though he was eligible for it. He listens to his heart. He serves the downtrodden of his city by communication their pains through the media to the responsible authorities. He emerges as a successful journalist. He continues to serve the wretched even after his printing press is destroyed. He writes the daily news on the papers and distributes them to the social activists. It was quite tough job but he does not abandon his service. In the end, the exploiters yield to the revolutionary spirit of the journalist. Gopal, the big exploiter of the students as well as Raghav’s archenemy surrenders to the latter’s vitality. Gopal sacrifices his love, Aarti to the saviour of the poor and wretched. The writers often portray their characters killing each other for woman, property and egoism. They portray their women giving up their mates due to the lack of physical facilities. On the opposite, Bhagat’s women get away from their partners due to the lack of time. Aarti of Revolution 2020 craves to borrow some time of her mate, Raghav but she fails. She depicts her pain thus, “I am lonely too. Raghav has no time”.23She feels uncomfortable with the revolutionist. Turmoil in Aarti’s mind equals the misery of the lady Chatterley, “The point is what sort of a time can a man give a woman? Can he give her a damn good time or can’t he? If he can’t he’s no right to the woman”.24 .Thus, Bhagat is different from other writers to an extent. He reposes humanity in his characters more than any mundane aspiration. They do not die for the failure in love. Instead, they live for the sacrifice in love. Bhagat’s men attempt suicide not because they fail in love. On the opposite, they fail to keep promises with their friends.

Bhagat has introduced some unique trends in the Indian English literature. He has focussed the interest of the youth. He has written about their aspirations and for them. He has attempted to guide their ripe energies into proper direction. This is no surprise if they acclaim him as the youth writer. His novels touch an emotional chord of the third generation. These display the ambition of the youth, mixed with fears and tinged with tears. His men and women observe morality in the warm heartedness of the human relations. They are epicureans in nature. Therefore, they take life for pleasure. They enjoy even being called five pointers that is sort of insulting. Their concern lies specifically in the innovation of education system and the society as a whole. They believe in success comes to those who crave for practicability not for mugginess in life. Bhagat puts stress on liberty of women. His woman characters believe in “an absolute, a perfect, a pure and a noble freedom”. 25Hence, Bhagat has purposefully employed youth calling approach in his novels.  


* Research Scholar of Mewar University, (Rajasthan) (Associate Professor, English) Department of Applied Sciences & Humanities IIMT College of Engineering, Greater Noida G.B. Nagar (U. P.) India. email:


** Research Guide (Professor , English) Mewar University, Rajasthan, India. email :




  1. Head, Bessie. Why Do I Write? Mnegi WA Dikgang Vol.3, No.1, 26 April 1986
  2. Singh, Anita. Indian English Novel in The Nineties and After: A Study of The Text and Its Context. Delhi: Adhyayan Publishers and Distributers, 2004, p.1
  3. William J. Long, English Literature .AIT.B. Publishers & Distributors, 2004
  4. Singh, Anita. Indian English Novel in The Nineties and After : A Study of The Text and Its Context. Delhi: Adhyayan Publishers and Distributers, 2004, p.2
  5. Ibid., p.2
  6. Tripathi, Jaya. Gd. A.N. Dwivedi. Documentation of History in the Novels of Manohar Malgonkar. University of Allahabad, 2008, p.2
  7. Singh, Anita. Indian English Novel in The Nineties and After : A Study of The Text and Its Context. Delhi: Adhyayan Publishers and Distributers, 2004, p.7
  8. Zehra, Talmiz. Ed. Suresh Nath. Chetan Bhagat and His New Fiction. Creative Writing and Criticism (ISSN 0975-2390), Vol. VII, No. 2, p.114, April, 2010, p.114
  9. Chetan Bhagat. Five Point Someone. Delhi: Rupa Co., 2004, p.138
  10. Bhagat, Chetan. The Real Dirty Picture. A Column :The Times of India, February12, 2012
  11. Ibid.
  12. Ibid .
  13. Shaw, George Bernard.  Back to Methuselah: Metabiological Pentateuch @www.1st, 2007.p.77
  14. Chetan Bhagat, One Night @ The Call Centre. Delhi: Rupa Co., 2005 p.217
  15. Ibid. p.218
  16. Ibid. p.218
  17. Ibid. p.221
  18. Ibid. p.222
  19. Ibid. p.222
  20. Chetan Bhagat. The 3 Mistakes of My Life. Delhi: Rupa Co., 2008, p.103
  21. Ibid. p.172
  22. Chetan Bhagat. 2 States: The Story of My Marriage. Delhi: Rupa Co., 2009, p.103
  23. Bhagat, Chetan. Revolution 2020. New Delhi: Rupa Co., 2011. p.219-220
  24. Ibid. , p.47
  25. Lawrence, D. H. Lady Chatterley’s Lover. Delhi. Sahni Publications, 2007.p.7



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