“An Astrologer’s Day” is the title story of a collection by Narayan published in 1947 (in Great Britain but not in the United States); it is also the first story in Malgudi Days (1982), a retrospective volume that includes stories from several decades. It is typical of Narayan’s work not only in its themes but also in its style and structure.

The distinctive appeal of Narayan’s stories derives in part from tension between their strong emphasis on plot and their extreme brevity. “An Astrologer’s Day,” like most of Narayan’s stories, is very short, less than five pages long. Most modern short stories of its length are sketches, tending toward the plotless; in contrast, Narayan’s stories almost always have a clear dramatic action in which (in Narayan’s words) “the central character faces some kind of crisis and either resolves it or lives with it.”

“An Astrologer’s Day” features a plot twist worthy of O. Henry, but the brevity and conciseness of the tale and its low-key ending save it from the air of contrivance to which O. Henry was prone. Also notable is the irony that can be appreciated only in reading—particularly the exchange in which the astrologer assures Guru Nayak that his enemy met the fate he desired.

Politics
A recurring theme in critiques of Narayan's work is his consistent avoidance of addressing the historical and political events of his time. Although he doesn't entirely ignore politics, it always takes a backseat to the everyday lives of the residents of Malgudi.

The collection was published in 1947, the year India gained its independence. This period was marked by significant excitement and upheaval as the British prepared to depart and the country teetered on the edge of civil war. The escalating conflict between Hindus and Muslims led to widespread violence from both sides. Additionally, the nonviolent resistance against the British had garnered international acclaim, with Gandhi emerging as a pivotal figure. However, the story does not reflect any of these historical events.

Reading the story five decades later remains a valuable experience largely because its charm has endured. The story's timeless nature is its strength, ensuring its continued relevance. Despite India's significant advancements in technology and its status as a leader in various fields, the rhythm of Indian life remains consistent. Street vendors are still prevalent, and the migration from rural areas to cities is still common. In this way, none of the story's elements seem outdated or irrelevant.

Point of View
The narrative employs a traditional third-person omniscient perspective. Essentially, the author or narrator conveys the entire story to the reader. However, because the plot hinges on a revelation at the end, the narrator withholds certain character details initially. While the narrator provides ample information about the surrounding events, they are cautious not to disclose more than what a bystander would notice. The reader experiences the unfolding plot despite the presence of an all-knowing narrator. Dialogue throughout the story offers various viewpoints without undermining the narrator's overall authority.

Style
Narayan's writing is often praised for its consistently simple style. To those familiar with South Indian Tamil, his style appears as an intriguing blend of English and Tamil. Although the syntax and grammar adhere to English norms, many idioms clearly reflect Tamil influence. This is especially noticeable in dialogues, such as the conversation between the astrologer and Guru Nayak, where the language shifts between standard English and dialect. Occasionally, it seems he is providing a direct translation of Tamil expressions. His effortless fusion of two linguistic traditions is a significant factor in his success.

Irony
A universally acknowledged feature of Narayan's writing is his pervasive irony. Whether through the narrator's insights into the past or character interactions, irony is a constant element, stemming from the discrepancy between what people claim and what they actually do. Rarely does anyone escape the author's ironic lens. However, the irony is never malicious or overly harsh. The contradictions Narayan observes in his characters are enveloped in a broader acceptance of human frailty.

Narayan's irony possesses an element of acceptance, preventing it from descending into satire or cynicism.
The central irony of the story lies in Nayak's prolonged search for the man who wronged him, only to fail to recognize him upon meeting. Similarly, the astrologer spent years in virtual hiding, only to learn that he hadn't committed a crime. These ironies function structurally, while more apparent instances of irony emerge in character dialogues.

Structure
The strength of this story lies in its meticulous construction, despite its seemingly artless presentation. Every detail is carefully integrated, giving the narrative its compelling power. The initial depiction of the astrologer seems to follow the traditional method of character introduction through physical description. However, in this case, the astrologer's appearance serves as a disguise. This is not because he is hiding from the law, but because his profession requires him to appear as though he possesses mystical abilities. Consequently, he no longer resembles the simple villager who left his home years ago. It is, therefore, understandable that Nayak does not recognize him. Similarly, the context for the astrologer's initial failure to recognize Nayak is established by having Nayak arrive when there is minimal light, just as the astrologer is about to close his shop. Crucially, the astrologer eventually recognizes Nayak when the latter lights a cigar, momentarily illuminating his face.

In the same vein, seemingly casual observations gain significance as the story progresses. The astrologer's decision to leave his village is mentioned almost in passing. This technique of foreshadowing involves introducing a seemingly trivial detail that later proves to be crucial. Its importance becomes clear at the story's conclusion when the astrologer admits that he is, in a sense, a fugitive.

One notable aspect of Narayan's writing is his frequent setting of stories in the fictional town of Malgudi. While it is possible to speculate about a real-world counterpart for Malgudi, Narayan intended it to represent a microcosm of India. From the landscapes to the characters inhabiting this world, there is a strong sense of allegory. The mountains, rivers, houses, city offices, places of worship, and shops are all designed to suggest that Malgudi is a typical Indian city. Narayan's consistent portrayal of Malgudi contributes to the timeless quality of his work.

Literary Heritage
R.K. Narayan, born in 1907 in Madras, South India, was a member of the Brahmin caste (Hindu priest class). He was educated in both Sanskrit, as part of his Hindu training, and English, although his mother tongue was Tamil, spoken by over sixty million people in India. Narayan's first novel, written in English, was published in 1935 during a period of significant upheaval in India. His body of work includes retellings of classical Hindu myths and stories, as well as essays, short stories, and novels.

Unlike some other Indian writers of the twentieth century, Narayan did not shy away from addressing the significant political and economic turmoil of his era and culture. However, his main focus remained on the everyday experiences of ordinary Indian people. These portrayals of Indian life give Narayan's work a timeless quality while also documenting the forces of change throughout India.

Narayan's writing has reached an international audience, with many critics lauding his ability to convey a sense of Indian life authentically. They often describe his work as a fusion of Hindu mysticism and English literary form. Although Narayan wrote in English, his work is imbued with a Hindu sensibility and a belief that human lives and their problems are part of a larger cosmic order.

1940s: India remains under colonial rule until achieving independence in 1947.

1970s: India resolves many of its internal and external conflicts and plays a pivotal role in the creation of Bangladesh.

1990s: India emerges as a significant industrial powerhouse.

1940s: The country is predominantly rural with few urban centers.

1970s: Although still a controlled economy, India makes significant strides towards urbanization.

1990s: India becomes technologically advanced and largely urbanized.

1940s: Indian society is heavily patriarchal in terms of gender relations.

1970s: Significant changes occur as many women join the workforce, and Indira Gandhi becomes Prime Minister.

1990s: Women's movements gain momentum, leading to substantial improvements in gender equity. While some patriarchal norms persist, women take on more active and crucial roles in the nation's affairs.

Further Reading
Holstrom, Lakshmi, The Novels of R. K. Narayan, Calcutta: Writers Workshop, 1973.
This book provides an in-depth analysis of Narayan's novels, focusing on themes, plots, and style. It places Narayan within the tradition of Indian literature and argues that his works convey a Hindu perspective on the universe.

Kain, Geoffrey, ed., R. K. Narayan: Contemporary Critical Essays, Michigan State University Press, 1993.
This comprehensive collection features essays from prominent critics in the field. It includes both analyses of individual novels and broader comparative essays, offering a well-rounded overview of various viewpoints. The bibliography of primary and secondary sources is particularly useful.

Vanden Driesen, Cynthia, "The Achievement of R. K. Narayan," in Literature East and West, Vol. 21, Nos. 1-4, 1977, pp. 51-64.
This insightful and well-crafted article examines the entirety of Narayan's body of work. It delves into the main themes of Narayan's writing and is among the first to propose that Narayan can be considered a fabulist.

Walsh, William, R. K. Narayan, Longmans, 1971.
Although an early publication, this book offers a keen analysis of Narayan's central themes. Walsh provides detailed readings of several texts and uses a comparative approach to give a valuable overview of Narayan's literary contributions.