Literature is all around us, often confounding us with its diversity. It has, however, been interpreted by many artists over time and is still up to interpretation. It is possible, even necessary. In the post-modern era of art and literature, derivative literature can and has been used effectively to outline ongoing issues within the communities of a nation. The correct method to do it is to obtain a fundamental knowledge of the underlying meaning of the poetry and prose, and then use that as a foundation for expanding on that work of literature. If the author is unable to dwell on the aforementioned idea, or simply cannot relate to it on a personal level, derivative poetry might devolve into a dry academic exercise with no meaning. Many people are surprised to learn that their own life experiences can be transformed into literature and that literature is experience.
The idea of derivative literature is not a novel one, for many great playwrights such as Shakespeare, Chaucer and Vigil have themselves been seen drawing inspiration from sources outside of their creative minds. Shakespeare’s plays are “creatively, inexhaustible unfinished,” according to historical data. This enduringly adaptable state is similar to that of the Odyssey while it was being written orally. It further undermines the notion that Shakespeare’s works were fixed expressions, as modern copyright theory distinguishes between uncopyrightable concepts and copyrightable expressions. Shakespeare, like Vergil and Homer before him, drew inspiration in the Trojan War. Troilus and Cressida is a play about two young lovers who are torn apart by conflict. Shakespeare, like Vergil, takes two minor characters from the Iliad and expands their roles into a whole play. Shakespeare’s main sources for Troilus and Cressida, were Chaucer’s Troilus and Criseyde, and the George Chapman translation of the Iliad.
Talking about derivative literature in today’s times, we can see its reflection on all fictional settings- be it books, music, movies, etc. The ongoing trend of fanfiction is an excellent example of derivative literature. These short novels have gained substantial traction and an even larger fan base that enjoys their favorite characters in a different setting altogether. Fans aren’t the only ones that create innovative derivative works, but they’re a good place to start because they’re generally non-commercial, communal, and disliked. Fan cultures have existed for as long as the Internet has been. Fanfiction first became popular in the 1950s through fanzines, amateur fan-curated journals dedicated to favorite fictitious worlds, but it only grew increasingly popular in the last quarter-century. Fanfiction is as old as literature in terms of creative derivation. Another example is A Thousand Acres by Jane Smiley. In her Pulitzer Prize-winning novel, Smiley retells King Lear’s narrative in modern-day Iowa. The story takes place on a thousand-acre farm owned by a father and his three children, and is recounted from Ginny’s perspective. Rather of rejecting the two elder daughters as wicked and grasping, as Shakespeare did, Smiley explores the family secrets at the heart of the drama, as well as the significance of the land itself, in her novel.
Bringing this discussion to the ambit of non-fictional postmodern literature, a very clear example is Shashi Tharoor’s novel The Great Indian Novel. He cleverly recasts ancient epics and weaves Indian mythical works with contemporary politics, and still ensures that the notion does not lose its outstanding relevance and standing in society. He does not fail to add on that edge of satire to his writing, which he is known most for. Dealing with issues that were time-sensitive (during the time) was surely a risk that he was willing to take, with many fearing censorship and a ban on his novel. The trauma of emergency and partition was also highlighted in novels like In A Time To be Happy (1958) where Nayantra Sahgal takes the emergency trauma as their main theme; while Indian Independence is the main concern in Salman Rushdie’s Books Prize winning novel Midnight’s Children (1981), which acclaimed as a milestone in Indian Writing in English.
What I have discussed goes on to illustrate that derivative literature isn’t always a negative thing. It allows us to acquire a new and fresh perspective on pre-existing classics. Consider this: they are regarded as classics for a reason: their continuing importance in today’s times and the future eras. Using their underlying ideas as inspiration may be thought of as a tribute to the writers who were once and will always be considered timeless.