| Summary: | In the domain of literary criticism, ‘transaction’ suggests a mutually reciprocating relation between the reader and literary text. Louise Michelle Rosenblatt in her work “The Reader, The Text, The Poem: The Transactional Theory of the Literary Work” argues that the act of reading is dynamic and involves interaction between the active reader and the text. This paper aims to foreground Salman Rushdie’s attempts to frame a fact-fiction interface in his novel Midnight’s Children. Discourse naturalizes conventions through iterative performance and creates water-tight normative structures. Such discursive frameworks demarcate the boundaries within which we are supposed to negotiate meaning. Contesting such truth claims, Rushdie enterprises a creative re-writing of history which questions the boundaries of history and fiction.
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