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What are the prevailing features of postmodernist literature employed in the novel? Does the novel employ fabulation, parody and paranoia? Does the novel show any intertextuality feature? What do those features imply to the underlying principles of postmodernism?

Objectives of the study The general objective of the study was to identify the major features of postmodernism in the selected novels. And this study has got the following specific objectives as well. To describe the application of fabulation, parody and paranoia 2. To discover the intertextuality features of the novel 3. To discover the possible implications of the features to the principle of postmodernism.

This is a descriptive research. The core issue in this study is identifying and describing those features of postmodernism in the selected literature making reference to those theories in postmodernism. Postmodernism as a view point was selected because the novel is more appropriate to this approach. Convenience sampling technique was used for selecting the novel. To extract data from the novel, close reading technique was used.

The researcher has read the text closely and identified the important concepts for the analysis bearing in mind the important notions of postmodernism in literature. In addition to that, several books on postmodernism were referred to as a secondary source and used for theoretical frame work.

Data analysis was entirely qualitative, which means the researcher described and interpreted the concepts by using words than figures. For translating the extracts from Amharic to English, Communicative Approach of Translation was used. Kusee is initially from Konso who left his village for Arba Minch desert being frustrated by the death of his wife.

His wife, Kuyee is killed by an enemy and Kusee kills the foe in counterattack. He is prisoned for eight years and chooses to reside in the Arba Minch desert. In the desert he joins a group of fisher men. At the fishing encampment, he finds a stem of big tree that lies between the joint of Abaya and Chamo lakes and makes it his home instead of the rest who work and sleep together making a shared effort and cover in the forest.

Kusee becomes alien to the group not only because he sleeps alone on the big stem but also he declines to use their method of fishing.

Instead of catching with the fishnet and the hook, he invents his own way of fishing called gichit literally means crash or collision. By gichit Kusee means catching the fish by the means of getting crashed with the fish that comes through the waterfall and hugging the fish.

Kusee thinks that fishing with the net or the hook is killing the fish which he considers abnormal, and prefers fishing by gichit which he assumes to be the right way to catch the fish that can be a sacred gift for his wife Kuyee, who currently lives in the Paraduheta in the traditional theology of the Konso, an underworld of truth where the shadow-body of the deceased will go and continues to live a life similar to the one had on earth.

Kusee also starts searching for Ela the spirit of the traditional Konso beliefs but comes across a new water spirit in the forest. And also he realizes that man has made a crocodile college and is producing crocodiles that are artificial, intertwined with the evil characters of man and trained to attack the fishermen which Kusee plans to bomb before he joins his wife in the paraduheta. In fact, this is what my reading reveals. There is no clear way to tell correctly that the story begins here and ends as it is so fragmented in the narrative progress, intermingles reality with dreams, myths, magical elements, and self-contradictory in subject matter moral stands etc.

Fabulation is understood here as a rejection of realism which embraces the notion that literature is a created work that needs not necessarily be bound by the notions of mimesis. In postmodern literature, it is mainly manifested through the use of fantastical elements like magic, myth, dream and hallucinations being overlapped with reality.

One of the recurrent features in the novel is the intermingling of dreams and real stories. Dream has an inheritance in life. The one that washes you during dream would cleanse you when you are awake too. We may forget her whispering, dripping, and sanitizing. But it is true. She that washes you in the dream will also purify you while you are awakened. As they say, if dream is worthless, how is she made part of life? Here, on the other hand, it is a sort of pause and intervention in the process of the actual story.

Dreams are considered as part of the story- not dreams within the story. In the novel for instance, Kusee has a firm stand against the production of crocodiles artificially and for that matter plans to destroy the college in which the crocodiles are reserved. To Kusee, successfully accomplishing this mission is refreshing to the welfare of the environment and if he does so before his death, it will be one of the revered gifts he can present to his wife currently in the paraduheta.

After he bombs the crocodile college, he himself will be bombed jointly and wakes into the new stage of life in the paraduheta. Kusee stresses that he has no intention to kill the crocodiles. But his problem is with the college owners. He believes that man is wicked and the crocodiles under the custody of man must become evil. They identify the taste of human flesh and attack human beings categorically, as a result of that Kusee plans to sack the crocodiles.

His aim is not to kill all the crocodiles. He has no contention with them. The two bombs will be adequate to let them know that the creatures cannot lie there for their badness. Unquestionably, they will be aware of the meaning. Equipped with that mission, there enters a pause in which Kusee becomes half-awakened and designs a plan to accomplish the goal.

He decided to unlock the rings of the two bombs before he threw the first bomb on the crowd crocodile. One is for the crocodiles in the middle. And the other one for himself and for those crocodiles around him if it explodes before he moves from his position.

It will explode on his hand. Again he talks to his wife over the child he remembered and he tells Kuyee that it was good if he would send off his child. Then he thought to rush to the action before getting broken up by potential ideas that might come to his mind. The very last incident of his task appears as follows. As he gets down, he runs toward the centre.

The bomb explodes on his hand. He explodes it. The crocodile flung to a great extent and lay upon him. But he felt that his whole body was occupied by an immense glow. Is that what death is? Thenceforward, he saw the world around him that was similar with the one he had been in. He wondered if the new world was newer one but it was not. He was surprised and posed questions. There is also another similar feature. In this case, Kusee being in the state of sub-conscious hears the sound of ela, and questions whether it is ela that circulates in his life.

He came across a man named Asire and sees the image of his wife in him, something which makes the scenario further than what we try to perceive as a fact out of the world. That is briefly depicted in the following way. He said, did this desert make me a dreamer? And tried to forget. As a surrogate for Kuyee, Asire came to him and examined him for a week.

In the case that Kusee suspects ela and Asire are with him and his deceased wife revisiting him, we can identify it as hallucination. But his attempt to tell apart whether that sort of things are taking place falsely because the desert made him a dreamer or not takes the situation partly to overlap with reality- hence that brings about the concept of fabulation here. Reason is the ultimate judge of what is true, and therefore of what is right, and what is good what is legal and what is ethical.

Freedom consists of obedience to the laws that conform to the knowledge discovered by reason. Postmodern literature often formally expresses and thematizes, that it is a manipulation through the overlapping of the fact and fiction, reality and fantasy. Kusee did accomplish most of his deeds, which he had planned being conscious, in his semi-consciousness which one can partly call dreams.

That problematizes the attempt to logically approach what has been taken place essentially because the narrator tells us that significant part of the major events the central character had suffered took place while the major character was not awake.

Intertextuality Intertextuality is a creative transformation of the referred texts in different linguistic and cultural context. Kusee compares his failure with that of a python in a folktale. And he assumed that there was nobody waiting for who might snatch what he was carrying and arrest him, too. But he later realized that he came to view with the scouts and compare his failure with the failure the python suffers in one of the Gamo folklore.

In the original folktale, which is to be presented next, there was a python that assumed everything was okay simply because its stomach was full and later the python realized that it had made a great mistake.

There was famine. All the animals were dead. Those that lengthened their lives were group of scavengers like the hyena and the vulture. The python, too, left its bragging and started to swallow the carrion though he lost that faster as well. Its spirit told the python that in another part of the world there was food. How would it undergo such a long challenging road and fill its stomach?

When it thought over, perhaps, there was a good way. It got up and looked around after it finished swallowing. The road was finished, but it did not go anywhere. The python was shocked! It lost its audacity. Though it could start the journey that it was late for, how would that be possible since all the roads were entered in its stomach? Blaming the stomach that it transfigured previously, it started waiting till the road it swallowed got back to its place!

For how much centuries did it wait! Kusee recontextualizes his failure with the failure the python has undergone in the earlier mentioned folktale and we can consider that the writer has employed a direct reference technique of intertextuality to the existing folklore. In the next discussion we will be looking at another feature of intertextuality which is called parody. In this case, the reference is the Holy Bible and the way or technique of reference is comic imitation of the text referred.

The hypothetical figure, who Kusee thinks is Jesus, who tells Kusee the reason behind the existence of Chamo, Abaya, and the Forty Springs. To check if I was dead or not, they pierced my chest with a spear. Water from my right side and blood from my left came forth and poured.

Similarly, the Forty Springs are presented as a parody of the forty days and nights Jesus has suffered in the desert according to the Bible. The places are redefined in a form what one may say comical as the extract below briefly illustrates.

For it be a sign for that, I have created fishes in the water for you. The discussion that follows as well takes us further to another context in the text where the narrative is referred to the traditional theology of the Konso people. In the traditional theology of the Konso Moha or Waqa, God is believed to exist both in feminine and masculine characters.

A similar scenario can be found in the imagined character of Kuyee. Kusee thinks that she leads him during his stay in the desert and welcomes him in the paraduheta after he dies and goes there. The following extract may give us more elaboration on the issue. She is with him during his delight and sorrow as well. Though his soul refuses to near her when it is contaminated, she is with him surrounding him like the day light and the night dark. But his Kuyee is not the darkness: his kuyee is the light forever.

If there is dark, it is the one that emerges from his heart, not from hers. From this it is possible to assume that the author had in mind the concept Kuyee in the traditional folklore of the Konso people before he came to shape the character Kuyee in the current novel. The work being referred to the existing folklores, and the scripture implies that a literary work or text is not a self defined entity—which is one of the central mottos of postmodernism in literature. The implications of the novel being referred to sources like The Holy Bible and the traditional traditions and beliefs of the Konso, to the notions of postmodernism, is the fact that in postmodernist thought literature is not something that reveals itself in vacuum solely from the mind of the author.

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