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In all her works Jhumpa Lahiri has dealt with the themes of culture identities and the problems of generation – of Indian parents and their children growing up in America while facing challenges of coping with the demands of their parents who are nostalgic about things and memories Indian and the pressures of American life and that society’s ways and norms. These conflicting norms and values as regards life’s important affairs like love and marriage find very effective expression in her stories – both short and long. In the treatment of these themes she looks for cross-culture marriage and even there she explores the possibility of accommodation and adjustment and thereby the happiness of home and family. Several writers in our days generally deal with themes of broken families, women’s emancipation-related tales of oppression and sexual violence or of gendered identity explained as colonial/postcolonial experiences, expectations and encounters, and culture conflicts due to East-West encounters. Jhumpa Lahiri seems instead not to bother for what is in currency, what sells today-hers being a systematic purpose to tell her readers that life demands understanding, maturity and marital success leading to the creation of a happy home. It may be this leading concern behind Lahiri’s art that make her stories immensely readable and she loads them with a virtue of a different kind. Given the obvious compulsion on her part to priorities the dominant concern in the multicultural world today for a home that guarantees happiness and comfort of existence as civilized individuals, she finds the theme of happy home and intellectual adjustments in life and in love quite a natural choice on which she could concentrate. Moreover, in our days when n...
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...e set in the paragraphs which make the stories lively. Beyond putting appropriate diction at appropriate places, she has the god-given virtue of contriving excellent plots with excellent characters.
The most important factor of Jhumpa’s narrative technique is the graceful variation which does away with repetition of events or concepts in the plots. Her concerns in The “Namesake” are engrossing and filled with moral and psychological truth. Its other qualities are flexibility, elegance, economy, irony, compassion and eloquence. In Unaccustomed Earth Jhumpa shows she matures techniques in narration and plot construction. Every word assumes significance and language bears lucid and lyrical vitality. Alienation, nostalgia, yearning for the native land and the annoyance and mental agony resulting from them has been recurrently exposed in the stories.
Nilanjana Sudeshna Lahiri, an Indian by descent, was born in London in August 1967, to a Bengali immigrant Indian parents. “Jhumpa” is the nickname easier for the teachers remember his name. The Lahiri family moved from England to Rhode Island when Jhumpa was two years old. Her father was a librarian at Rhode Island University and her mother was a school teacher. At age of seven, Lahiri started to embrace writing about what she saw and felt. While growing up, Lahiri lived two lives: An Indian at home and An American outside of the home. Despite of living most of their life in the western world, Lahiri’s parents called “Calcutta” their home unlike Lahiri who thought Rhode Island as her hometown. Lahiri always felt her family had a different li...
Particularly, you can analyze that this quote contains a strong voice that can be portrayed as descriptive. She uses a handful of adjectives that foreshadow the character’s personalities.
Searing the mind with stunning images while seducing with radiant prose, this brilliant first novel is a story of damaged lives and the indestructibility of the human spirit. It speaks about loss, about the urgency, pain and ultimate healing power of memory, andabout the redemptive power of love. Its characters come to understand the
Jhumpa Lahiri’s Interpreter of Maladies traces the lives of Bengali people, mostly immigrants, living their lives with the hardships that they face. In the eighth story, “The Treatment of Bibi Haldar”, the wives of a village tell of Bibi Haldar, a young woman put into the most unfortunate of circumstances. The ailment she suffers from, the lack of a loving home, her disgraced ending, and, most of all, the ability to become victorious through these hardships makes Bibi the most sympathetic character in Lahiri’s short story collection.
John Steinbeck’s heart-rending, epic novel, The Grapes of Wrath, set during The Great Depression, clearly depicts human struggles, futile dreams, and turbulent futures. Steinbeck introduces the Joad family and their constant struggles, but one member, Ma Joad, holds the family together with her courage, hope, and love.
The novel Nukkin Ya is a compelling book, written in the perspective of the character Gary Black, the author of the text is Phillip Gwynne. The novel is set in rural South Australia for Australian readers. The novel conveys a number of themes and messages including racial difference, love verse hate and the ability and choice to move on. These are depicted by the literally techniques of imagery, literary allusions and intertextuality.
Sociology professor Morrie Schwartz once said, "Rules I know to be true about love and marriage: If you don't respect the other person, you're gonna have a lot of trouble. If you don't know how to compromise, you're gonna have a lot of trouble. If you can't talk openly about what goes on between you, you're gonna have a lot of trouble…” (Albom 149). Although not stated as clearly or concisely, the vast majority of Jhumpa Lahiri’s stories retell the truths told above. Three stories in particular; "A Temporary Matter," "When Mr. Pirzada Comes to Dine," and "The Third and Final Continent," especially exemplify the quote above. Throughout these stories Jhumpa Lahiri writes of the struggles Indians have building new relationships while trying to assimilate to American culture; Lahiri illustrates that in order to strengthen any relationship, one must display compassion, respect, and honesty.
...guages. Her contribution to American Literature can be shown through her pure emotion and connections in her writing.
... of tragedy and lets her be the diamond in the rough. She is the one person whose vision is unaltered from the very beginning of the book and to her the other survivors draw their own courage.
In “My Two Lives” Jhumpa Lahiri talks about her hardship growing up in America coming from two different cultures. At home she spoke Bengali with her parents, ate with her hands. According to Jhumpa’s parents she was not American and would never be. This led her to become ashamed of her background. She felt like she did not have to hide her culture anymore. When Jhumpa got married in Calcutta she invited her American friends that never visited India. Jhumpa thought her friends would judge from being part of the Indian culture and isolate her.However her friends were intrigued by her culture and fascinated. She felt like her culture should not be hidden from her friends anymore, and that coming from an Indian-American culture is unique. Jhumpa believes that her upbringing is the reason why she is still involved with her Bengali culture. Jhumpa says“While I am American by virtue of the fact that I was raised in this country, I am Indian thanks to the efforts of two individuals.” Jhumpa means that she is Indian, because she lived most of her life and was raised here. In the story Lahiri explains that her parents shaped her into the person she is. Growing up coming from two different cultures can be difficult, but it can also be beneficial.
With Indian parents and being raised in America from the age of two, Lahiri states in her essay that in her earlier years “Indian-American” was how she was described as, however, she hardly felt as if she could identify with “either side of the hyphen” (97,98). In other words, having these two cultures present in her life that supposedly made up who she was ended up making her feel that because she fell into both categories she could not fully relate to either culture, causing her to feel alienated. She goes on to say, “As a child I sought perfection and so denied myself the claim to any identity” (98). This thinking is a prime supporter of the correlation between culture and identity because it was culture that affected Lahiri’s claim of identity, even if that claiming was no identity at all. Through the examination of Lahiri’s early life, it is evident that there is a correspondence between identity and
In the present day world of globalization, with convergence of heterogeneous cultures and hybridization of identities, and ever growing transnational migration, geographical boundaries are becoming redundant. The definitions and ideas of ‘home’, ‘identity’ and ‘culture’ have undergone changes with spatial politics and its displacement, intimacy, inclusion and exclusion. This paper makes an attempt to understand the conflicts of identity and culture before the Indian diaspora with reference to The Namesake by Jhumpa Lahiri.
Jhumpa Lahiri, the author of the story, “The Third and Final Continent,” grew up being aware of conflicting expectations from two different countries. As Jhumpa mentioned, “I was expected to be Indian by Indians and Americans by Americans (Lahiri, pg 50).” The Third and Final Continent leaves the reader with a positive notion of the immigrant experience in America. The narrator recalls his school days in London, rooming with other foreign Bengalis, and trying to settle in this new world. He talks about how when he was 36 years old when his own marriage was arranged and he first flew to Calcutta, to attend his wedding. This statement is unique because it depicts the differences between an American culture and an Indian culture. At the time of marriage he is 36 years old and he didn’t pick who he wanted to get married to. Marriage in India is something that most parents set compared to other countries where they can marry someone of choice. Indians settle down by an arranged marriage ma...
Instead, she prefers to concentrate on abstract nouns, for example. ‘pride’ and ‘judgement’. This provides the reader with a deeper insight. into emotions and feelings, rather than physical description of them. characters and visualisation of the scenes.
The tragedy in the novels of middle phase rises from the intimate interactions of the expatriate women with the Indians in post – independence era since there is no more any shielding protection of the colonial officialdom of British imperialism. The brutal rape of Lee, the seduction of Olivia and her step – granddaughter are some symbolic portrayals of the disparity between the romantic illusions that in turn could provide them nothing but sexuality betrayal and falsehood. In portraying the subjugation of the European women by Indian lover’s husbands or the spiritual gurus Jhabvala hints at the moral and spiritual degradation in modern India. The search of the expatriate women for love beauty or spirituality ends in their victimisation at the hands of male rapacity and they are in a predicament of self – destructive commitments or flight for survival.