With critical analysis and in creative coherent way complete the last para more analytically and in scholarly discussive way for below writing
“The year 1947 carries within it a paradoxical duality, a long and arduous struggle for freedom, the dawn of independence for a nation that had been under colonial rule for centuries, and on the other hand, a period of unprecedented upheaval and displacement, a moment of rupture and disintegration of the lives of millions. division of the subcontinent along religious lines ignited a frenzy of communal unrest, as mobs engaged in targeted violence against those perceived to belong to the “other” faith. 
As the literary landscape surrounding Partition continues to expand, several novels and autobiographies have emerged, offering unique perspectives on this tumultuous period through the eyes of children. While I’m not particularly concerned with the historical accuracy of these narratives, I find myself drawn to how they utilize the child’s perspective to approach Partition in a manner that the adult world often struggles to achieve. 
Nevertheless, articulating from a child’s perspective is not easy for writers. On the one hand, the child, as elucidated by Susan Honeyman, is a “lucid space through which to criticize the adult world” Yet, on the other hand, the very nature of this mediation raises questions about the authenticity of representation. In this context, therefore, the present study will approach the child narrators in selected texts as real children in all aspects. 
The problem with child narrators, however, becomes all the more pressing when the narrator is a girl child, as she has to navigate a complex and hostile terrain: she has to speak her truth and claim her authority as a child and as a woman in a culture that often ignores and marginalises both. She has to find her voice and identity in a narrative space that is influenced by the standards and desires of adult and male readers. 
Naturally, this disparity prompts a profound reflection on a couple of significant questions: first, should the perceived diminished capacity, credibility, or value of the girl child narrator in relation to her male counterpart be accepted as an immutable truth, or does it represent an underestimation and devaluation rooted in prejudicial societal constructs? After all, boys typically have more leeway in a patriarchal framework. Can her narrative be recognized as equally capable of conveying not just a story, but perhaps a richer, more nuanced perspective derived from her unique experience of negotiating identity within a double bind of disparities? 
The narrator’s gender, especially when it is that of a girl child, may have significant implications for the representation of the self and the world, the construction of the plot and the point of view, the expression of the voice and the style, and the reception and interpretation of the text by different audiences. To recognize this specificity, as Susan Lanser argues, is to challenge the assumption that narrative is a gender-neutral or gender-indifferent mode of discourse, and to acknowledge that gender is a category “that is relevant to the analysis of the structural features of narratives.” In order to understand the true “nature, form, and functioning of narrative” (Lanser), it is imperative to explore the implications of “sex, gender and/or sexuality” (Lanser) of the narrator or narrative.  We need to study the narrator’s ‘testimonial’ and ‘interpretive’ functions, and how they are influenced by the narrator’s gender. As Warhol proposes, we can ask, among other things, what “role the narrator’s gender plays in the kinds of interventions he or she makes in the narrative.” Such an inquiry can reveal the “essential differences between the sexes - in terms of their psychological natures, or their roles as subjects or signifiers in history and philosophy.” 
Therefore, I am interested in this paper to….