By the latter period of the 19th century and early 20th century, narrative methods came used in novels and short stories in South Asia that tried to bring together the earlier narrative methods and the new ones of novels and short stories (which were imported from Europe, or more appropriately English literature, during the period). For example, in the writings of Fakirmohan Senapati (Oriya) or Lakhminath Bezbarua (Assamese), there were attempts to incorporate the folk methods of narrative (i.e. tale) in the narrative of the novel. The linguistic registers that were used to achieve this result were (a) the use of colloquial (or everyday) language, and (b) making a clear distinction between the narrator and the narration (i.e. the narrator is only narrating a tale, though in the form of a novel). Thus, though the texts were novels in terms of their narrative, the nature of the narrative was different from that in use/practice in Europe or in English literature during the period. As a result of the impact of colonialism, English literature emerged as a marker of international or world literature in South Asia by the early 20th century. However, one major difference that authors faced in South Asia wasthat unlike the English experience, in South Asia, there were not only multiple languages in use but also that a single language could have multiple variants. Therefore, novels and short stories came to have narratives which used techniques of tale, song, dialogue, proverbs (i.e. oral short narratives) or elements like locale to incorporate the diversity, and thereby the heterogeneity of people, into the narrative of novels and short story. Folk, as a narrative technique, therefore came to assume significance in the very emergence of ‘modern’ narrative in South Asia, in contrast to, for example, English literature. Besides fiction, even in the case of modern poetry in this regard, one can identify clear distinction between that in English literature