Manjula Padmanabhan's Harvest: a Study"

Johnson provides a brief account of the novella 's plot, together with his own perspective on the fact that so much of literature and literary analysis concentrates on the relationships that the characters have. In this case, the author examines the family as composed of children of ineffectual parents. While this writer does not know this with certainty, it is possible that many cases requiring family therapy are due to this very cause. The author then goes on to discuss the family in the context of the greater social system.

The narrator is totally crushed by the gender discrimination. She longed to be seen by her mother and her grandma. The narrator is heartbroken that her mother loved her brother more than her and failed to notice her. “When she went into Nonso’s room to say good night, she always came out laughing that laugh. Most times, you pressed your palms to your ears to keep the sound out, and kept your palms pressed to your ears, even when she came into your room to say Good night, darling, sleep well. She never left your room with that laugh” (190). Her agony can be easily seen by the way of her narrating. She does not get the affection that she deserves. She really needs the affection from her own mother, but she is not getting it. She compares the love which her mother shows to his brother and herself. This is gender discrimination can be seen with her grandmother too. She hated her grandma as she would always support her brother and find fault with her. Even though what the brother did, no matter what crime. Her mother and grandmother always supported her brother and never supported or showed interest towards

The narrator’s varying stately yet fervent tone illustrates her obligatory feelings as well as her true emotions regarding her husband and lifestyle through her descriptions of the “nursery” where she is confined (Gilman, 648). John, since he is both her husband and doctor, “hardly lets [her] stir without special direction,” characteristic of patriarchs of the family; he also “laughs at [her], of course, but one one expects that in marriage.” (Gilman, 648 and 647). Since the narrator feels

1 I chose to read this book because I like ww2 and science which both are involved in this. The title also sounds interesting to me.

The first of these cultural observations—the similarities between the actions of the rich and poor—enables Ms. Boo to influence the book. As a journalist, Ms. Boo reports on economically disadvantaged people in the United States. Her experiences of working on such projects enables her to have a gentler viewpoint when writing about the residents of Annawadi. Instead of seeing the Annawadians as completely unlike the residents of the “overcity,” (wealthier Mumbai) her

Then, he thought of his wife's bastard child, Calixta Avakian. Disgust, vexation and abhorrence filled his veins at the thought another man's child took his own last name. He loathed her, he was outraged with his beloved wife for having her; he detested the fact he let himself leave his wife for four years; leaving her to be lonesome, woeful and filled with worry of his well being - enough to go and submit to another man; to even become pregnant and bring a life into the world, at that. The woman tried her hardest to make him believe that Calixta was his child, but he couldn't help but wonder how could she be his child; when he was away for four years at war, and the child already a full year old when he returned home? The entire town of Devonshire

One of the most outstanding themes in this story is the manner in which the author expresses pure honesty in her views. She gives an honest opinion concerning any issue that affects her life without being belittled by the status of the individual or what other would say. The fact that she gives her positive and negative feelings about something is very impressive given that she grows gradually in the autobiography. During her former years, she is very honest when expressing her feelings about her dad after he left them for another woman. She is also very disgusted by the irresponsible behavior of George Lee after he claimed that she was the one who lit their house, thereby making her to be thoroughly beaten by her dad (Moody 2011, 12). She felt like killing him by herself for incriminating her in the offence.

The heat wave of the summer of 1952, Djinda wiped her hands against her dress. Her mother would kill her, it was dirty and the pink had faded. Her feet were bare and she hurried across the burning sand toward the small house her father had built. They’d both compromised each of their cultures; her father could do whatever he wanted that involved his culture but as long as he built her mother a house. This had been before she was born; her mother had also wanted to go to the hospital for her birth but had compromised to let the women of her husband’s tribe in there with her – much to the doctor’s protests.

The narrator of the story who is the main character and unnamed, this symbolizes her significance as if she unimportant or a nonfactor especially for the era that this story takes place where women were not equal to men and often isolated to the home during illness and to raise the family. The narrator is aware of her husband John’s behavior towards her and her illness. She from the beginning doesn’t trust John her husband

Before alienating himself he and the rest of the kids were interested in the time they could play in the cool evening. But after he fell in love and alienated himself he always thought about her and tried to keep Mangan’s sister in his mind; “Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my

His father’s wisdom regarding women and the negativity his father personified haunts Junpei into his adulthood. Junpei is unable to be with a woman without thinking of his father. “Whenever Junpei met a new woman, he would ask himself, is this a woman who has real meaning for

Whether this is due to their youth, or perhaps their awareness of the sexual power they hold over the Wife, the dynamic is very different than that of her previous marriages. The Wife finds it difficult to achieve the kind of relationship in which both sexual gratification and power over her husband are possible. While the fourth husband seems to have been quite a lively character—she describes him as a “revelour,” quite aware of his lover on the side—it is the Wife’s fifth and final husband, Janekin, who has left the most lasting impact (459). She claims to have truly loved him—he is the only husband whom she marries for love rather than money—although his treatment of her leaves something to be desired. His prowess in the bedroom always overcomes any ill treatment, and indeed his primary appeal is that he is “of his love daungerous”; essentially, he is hard to get, and the Wife relishes the challenge. Contrary to prior husbands, Janekin actively educates the Wife by reading to her from various texts with decidedly anti-feminist themes. This infuriates the Wife to no end, as does Janekin’s intense interest in these tales preaching female subordination, and she gets her revenge by ripping pages from the loathed book and hitting her husband. Janekin reacts by striking her back. The incident marks a distinct shift in the dynamic of their relationship; Janekin, perhaps rattled by the violent

The physiological views and raw mind for subject was told through the minds of the individuals. The narrator sails a very opinionated structure to development of the characters. The relationship shared by two characters can be classified as forbidden lust of love. The deity of love was a strayed from both individuals as the birthmark developed a proximate place in the relationship. In utmost concern for his wife she ultimately dies in the vein of removing the birthmark. Relationships create controversial offset between individuals when acceptance of someone physical attributes comes into play. As for Aylmer the birthmark was his offset in the relationship which outweighed the balances of the marriage. The myths of marriage during the 18th century portrayed the constant domination of gender roles.

The play Dry Lips Oughta Move to Kapuskasing written by the phenomenal Tomson Highway. Showcases the violence that Indigenous people were faced upon on the reserves through a darker portrayal. The prominent issues within the play have a clear correlation to colonialism such as alcoholism, hanging around all day and treatment towards women. The Indigenous men throughout the play blame women for their certain living condition. Before colonialism women were honored and highly respected with the Indigenous culture. But through colonialism, they were taught that males are superior from women.Our production will showcase the effects of colonialism on indigenous men and their perception and treatment of women. The reasoning behind choosing this theme within our production in order to demonstrate the lasting effects of colonialism, not simply through vague ideas but through the concrete aspects of indigenous life. Through the play, the audience will be well exposed to the audience aware of certain, lesser-known struggles that the victims of colonialism face on a daily which will be enhanced by the theatrical element, lighting.

The postcolonial writers may not achieve international success unless they address certain themes, or more established figures “discover” them, should be considered as well. Mahasweta provides a fruitful example: Mahasweta is an intensive and a social alert writer who showcases the rural realities as well as a broad narrative of the importance of the unprivileged or the people living on the extreme. While Mahasweta originally written in her native Bengali language, most of her works are translated into English and regional Indian languages. The credit for translating her works into English for the first time goes to Gayatri Spivak, who had translated Mahasweta’s “Draupadi” in 1981 and “Breast-Giver” (Stanadayini) in 1987. Since then many of her stories have been translated into English by other scholarly translators, and until now about a dozen translators have translated Mahasweta’s stories into English, among whom the foremost are Spivak and Bandyopadhyay. Mahasweta claims on translators capturing ‘the spirit’ of her work, which to her is more important than technical or even artistic perfection and she readily authorizes those translations of her fiction that have been faithful to the spirit of her fiction.