In general, home is the private place where the individual begins his life journey, also home has the connotation of the wider place, a group, a community, a village or a society, or a country to which the individual belongs. The concept of home has moved beyond these meanings, as the physical meanings, and come to be regarded as a virtual arena rather than a physical place.
Particularly in the period of colonization and even post-colonialization, the home has lost its widely agreed upon connotations safety, privacy, protection, and peace. It has such an unstable role which might represent all that mentioned of connotations or none of them (Delik,2016).
Colonial literature is always drifting individuals for the imagination of expanded space, to a broader concept of home, country, the nation or to the home itself, its rooms, its garden, its backyard. This concept of a home constitutes the entire idea behind the colonial project. The colonizer, as he builds up houses, growing businesses in his local and national style, he feels pleasure in his work of art. The miniature of the Empire. This is to say that, the colonizer sets spot for power and manifestation and sites for political revelations which directly serve the colonial ideal. But what about the colonized who is spiritually and materially controlled by the colonizer and his practices.
Home for the colonizer doesn’t give that idea of safety, privacy, and protection, it never promises for such a site. This brings individual for a sort of internal conflict to prove his identity apart from the colonizers. The word home in its narrowest sense is related to privacy but in the broadest frame, it denotes the nation and the empire in its pure activities. From this idea of home, it takes a cue to look into the changing roles of the home in Rushdie’s Midnight’s Children. Since India struggles and witnesses a tremendous change due to the effect of British occupation rule in the history of the novel, the characters in Rushdie’s India are also undergoing many modifications (Delik,2016).
