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In recent times, the position of the Indian writer writing in English has undergone something of a transformation. The celebrations of post-colonial marginality have come to be replaced by allegations of what Graham Huggan has termed ‘strategic exoticism’. Even though the publication of Salman Rushdie’s Midnight’s Children (1981) is hailed as a turning-point, much contemporary criticism has tired of Rushdie’s chutnified histories and East–West fusions. By the time Arundhati Roy won the Booker in 1997, the 1980s era of welcoming post-colonial ‘difference’ had been replaced by an unease that postcolonial writers, rather than being marginal ‘others,’ had become the shrewd profiteers of a global economy. The rhetoric of globalisation since the mid-1990s has increasingly situated the post-colonial writer as beneficiary (and not always an inadvertent one) of the global market-place rather than as the under-represented, under-taught, noncanonical ‘other’ who must be studied if only under the rubric of Fredric Jameson’s well-intentioned ‘national allegories’.