With the advent of Postcolonial studies, a new critical light has dispelled long-cherished belief of the Western world that India is an ahistorical country retrieving native ways of Indian people's relation to their past. What postcolonial theorists have framed conceptually was augmented experientially by the Indian English writers like Salman Rushdie, whose rich texture of narrative and exuberant vision of myth, history, and India's post-independence consciousness have opened up alternative ways of “history”. My petty attempt is to show how two major works of Rushdie, Midnight's Children and The Moor's Last Sigh explores Indians' interaction with “past” and “history”, along with difference in theoretical orientations of Indian and Western conceptions of “history”