An International Multidisciplinary e-Journal (Peer Reviewed & Opened Access Indexed) Web: www.jmsjournals.in Email: jmsjournal.in@gmail.com [566] Vol. 2, Issue-I July 2016 Anand rediscovers in his novels the vanities, the vapidities, the conceits and perplexities with which he had grown up. He writes: “I felt guilty, for needless suffering was no matter for complacent pride or gratitude” (Apology for Heroism, 7) EXISTENTIALISM IN THE NOVELS OF MULK RAJ ANAND T. Pushpanathan Assistant Professor, Department of English, SCSVMV University, Kanchipuram, India The revolutionary socialism and the comprehensive historical humanism are the important stages in the growth of Anand as an artist. What is of paramount importance to Anand is the transformation of words into prophecy. The pains and frustrations are not completely divorced from aspirations and exaltations in his fiction. He transmutes in his art all feeling, all thought and all experience. He sees himself as the seer of a new vision. Anand claims that like Shelley he has to stir the suppressed yearnings for freedom and the forgotten inner rhythms and the natural biological urges for fulfillment. He had to rule the hearts and minds of the people and enable them to become more poised. When Anand immersed himself into the flowing vibrant, core of humanity, it was not without his share of despair and delight. It was his strong faith in liberal humanism that prevented him from a total commitment to a political doctrine. S.R. Bald is not fair to Anand if she thinks that he attempted to lose his insecurity in the security of the Marxian ideology. Anand is for us much more than “Auden of the Indian Literary World”. (Bald, 115) Anand is both Asian and European contrary to his perception. He attacks the existing sociopolitical order and highlights the contradictions and consistencies of the Indian as a victim but never loses his faith in his capacity to straighten his back and look at the stars. Since human sufferings in the novels of Anand are caused by variety of empirical factors, it is not without significance that he introduces new protagonists like Bakha and Munoo were alien to literature. Anand’s envy of the rich is a hunger for social justice and the inadequacies of his own life in India contributed something to these preoccupations. He writes with despair mixed with candour: “But I do not apologize for this because it is not easy in the face of such wretchedness and misery as I had seen in India to believe that material happiness and wellbeing had no connection with real happiness and the desire for beauty” (Apology for Heroism, 76)