It's an early Indian novel with an agricultural theme, so it's surprising that Mohanty reads it as self-reflexive and self-parodic:
Both the kind of naturalist realism that builds on the accumulation of details and the analytical realism I mentioned, which explains and delves into underlying causes, are achieved in Senapati's novel through a self-reflexive and even self-parodic narrative mode, one that reminds us more of the literary postmodernism of a Salman Rushdie than the naturalistic mode of a Mulk Raj Anand.
(Incidentally, thanks to Manan Ahmed for the tip.)