Analysis Of ' The Vine Of Desire '

In the novel Sister of My Heart, the writer has artistically portrayed the physical and psychological tensions and tortures to which women are subjected. She has created a new empowering image for women. The diversity of women and the diversity within each woman is portrayed through Anju and Sudha. Divakaruni poignantly explores the struggle of Indian women as they seek new pastures in a world that would have them remain submissive. Her characters struggle to release themselves from a tradition bound society in order to gain an independent identity. There is a shift from being controlled through tradition to asserting.

Identities are often challenged by others and there is a struggle with maintaining one’s true self. In Santha Rama Rau’s “By Any Other Name” and Anzie Yezierska’s “My Last Hollywood Script,” adversities are faced during their battle for their genuine self. Yezierska struggles with maintaining her identity as a writer whereas the Rama Rau sisters struggles with maintaining their identities as Indians. “By Any Other Name” and “My Last Hollywood Script” both deal with the hardships of maintaining an identity, but eventually each set of characters have an epiphany.

Anita Nair’s “Ladies Coupe” has narratives by six women characters who by chance meet in a train ladies coupe that Akhilandeswari alias Akhila boards in. all the women speak of the repressive forces of a patriarchal India. Though they are from different community or cultural, all women share pain in different means. The novel is a ‘bildungsroman’ either narrating the childhood to adulthood life or the characters liberation by developing confidence to shun the web of patriarchal metaphors.

This paper attempts to examine the fictional projections of Indian girls, to see how they emerge in ideological terms. Their journeys from self-alienation to self-adjustment, their childhood struggles against the hypocrisies and monstrosities of the grown-up world, eventually demolishing the unjust male constructed citadels of power that hinder their progress- are the highlighted issues. The point of comparison between the two novels focused on here is the journey of Rahel in The God of Small Things and Sai in The Inheritance from a lonely childhood to a tragic adulthood passing through a struggle with the complex forces of patriarchal society. Both the novels portray the imaginativeness, inventiveness, independence, rebelliousness, wide-eyed wonder and innocence associated with these young girls.

Bharathi Mukherjee’s later novels Jasmine(1989), The Holder of the World(1993) and Leave It to Me(1997) comprised her last creative phase conveniently termed here as the phase of immigration. By now she has travelled a long distance in terms of thematic perception and character portrayal. Beginning with an expatriate’s uprooted identity in the early 70’s, her creative faculty explored the transitional dilemma of characters in early 80’s, whose acculturation bids were occasionally thwarted by the complexity of cultural plurality in the adopted land. However, after the publication of The Middleman(1998), the process of cultural acclimatization appears to be complete and the characters betray the confidence of an immigrant, almost a naturalized citizen, in facing the challenges of human life.

This paper is an attempt to study the birth of New Woman, in the light of feministic analysis, in the Immigrant Indian women characters in the short stories of Chitra Banerjee Divakaruni’s “Arranged Marriage”. It deplores that being trapped between tradition and modernity, Chitra B. Divakaruni’s immigrant heroines are fully conscious of being victims of gender discrimination prevalent in the conservative male-dominated society. C. Divakaruni gives her pragmatic resolutions related to the modern Indian Immigrant women’s beleaguered existence. Repudiating the femininity, the housewifery and the duties to their coercive husbands, her protagonists transform themselves into the beings of self-assertive, self-independent and self-actualised spirit

The Diasporic clan of writers express their unquenching thirst to return to their native country and they capture in words the alienation they face in their own land after their return. Divakaruni is no exception. Her works overflow with immigrant sensibility, longing for the day of come back. These fine fragile feeling of intense pain and frustration could be brought out by analyzing the narrative style of the stories. In the story titled “The Love of a Good Man” from the anthology The Unknown Errors of Our Lives, spun on the intricate fabric of family, the family members, their cultural variations, etc. Memory also plays a vital role in her stories as the characters move back and forth through their memory lane.

The present paper attempts to assess the consequences ensued due to the cultural hybridity of two generation of characters in Jhumpa Lahiri’s novel The Namesake. The first immigrants - Ashoke and Ashima transmit the Bengali culture to their US born children Gogol and Sonia who in turn, transmit the American cultural patterns to their parents. The psychological writhe of the Indian mother Ashima trying to adjust herself in the American culture and endeavoring to inculcate the moral values archetype of India into her children, is the primary focus of the novel. The paper centers on the reflection of Jhumpa Lahiri’s own inclination for Bengali culture and cultural hybridity through a variety of characters painted by her in the novel The Namesake.

In this novel, what the reader learns about the culture of the society is that men are the most important in the family. From an early age, little girls are taught to be submissive to men. Arranged marriages are common, as in Lakshmi’s case, she was promised to marry a boy whom she has never met before, whom she refers to as “the boy with the sleepy cat eyes”. The uncertainty of Lakshmi’s future is common for many girls as poverty often drives the mother or father of the young Nepali girls to sell them to wealthy families as a last resort. The girls are sold to wealthy families in urban India work as “maids,” but the actuality is that the young girls are sold unwittingly into prostitution. The girls are told they will work until they pay

For the central women in the book, their lives are dictated by the rules instilled by harsh governing, and they find themselves lacking the freedom of self expression. “Curiosity, the novels we escaped into led us finally to question and prod our own realities, about which we felt so helplessly speechless” (Azar Nafisi, 39). These brave characters of society internally struggle with having to cloak themselves to hide their sexuality, rather than embracing it.

Bell writes, “Tired of being a good girl who met all her parents’ and community’s expectations, Jayanthi began casually hooking up with men after college, often meeting several in one night” (33). Initially, Jayanthi adopted the “good girl” strategy as a part of society’s expectations and fulfilled her parents’ desire of being a typical Indian girl. In other words, Jayanthi’s initial approach to her reality as well as her personal identity was to act according to her parents’ and society’s expectations. However, throughout the passage of time, Jayanthi becomes “tired” of the “good girl strategy” as she still did not find her sense of identity but instead, her initial reality was altered because she did not embrace who she was. Essentially, Jayanthi did not embrace her reality at present as she feels that her life was determined by her family’s expectations. In essence, her pre-conceived reality of being a typical Indian daughter was altered because of her individual desire to find her sense of identity that is more complicated than that laid out from her cultural background.

Anita Nair is a popular Indian English-language writer. She has much insight into the concerns of studies, family, love and striving for fame and fortune . She makes an attempt to show the quality of strength in a woman. Anita Nair also adds that strength is not usually considered a woman as this. Her styles ultimately differ from other feminist writers. In other words, she is a feminist with difference. She traces the real position of women in the families as well as in the society. Her attempt to exhibit the plight, fears, dilemmas, contradictions and ambitions of her women characters is remarkable. Her primary focus of attention is the world of women, the struggle of women in the content of modern Indian society. Her novel reveals the

The social values and customs of nations throughout the world differ greatly from one another. When a fictional young women named Uma left America and traveled to India for a family member’s wedding, she discovered these differing customs first hand of America versus India. As she spent time exploring India, she learned more about her true roots and how they differ from her current life in America. Along the way, she developed strong opinions about the differing values of the Indian people and how they compared to those back at home. The main character, Uma, in the short story “Devadasi” by Rishi Redd, experiences examples of gender roles and cultural norms that are unexpected and seem unfair to her throughout her

Among the nine stories in this collection, seven stories attempt to explore the fears and trauma of Indian immigrants in America who oscillate between cultural polarities. These people struggle to hold firm their ‘centre’- their family and values - in the Western society which constantly contradicts and challenges the culture they had once inherited from their forefathers. The other two stories are set in Bengal and probes into the predicament of two hapless Bengali women, one of whom is an orphan and the other, cut off from her family owing to political reasons.

In this novel, Roy celebrates the female in the diversity of female experience, and she has no aim of being moralistic and is pragmatic and down to earth in her creation of her female characters, some of whom discernibly delineating a novel culture that differs from the traditional. This novel being a structural re-presentation of patriarchal cultural imagery presents both the subjectification of men and the objectification of women. In this novel, Roy seeks to sensitize the male chauvinist and exceedingly traditional society to the brutality of its treatment of women and low caste people and indicate her protest against its dehumanizing taboos which impede individual’s dreams, longings, and claims for justice and