tag:blogger.com,1999:blog-61838407557554583002024-03-12T16:23:49.710-07:00Non Verbal CommunicationDr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-6183840755755458300.post-8052402861398674762013-05-31T09:35:00.000-07:002022-02-24T03:04:57.918-08:00<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;"><br /></span>
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Perspective: Exile Literature and the Diasporic Indian Writer</h1>
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Displacement, whether forced or self-imposed, is in many ways a calamity. Yet, a peculiar but a potent point to note is that writers in their displaced existence generally tend to excel in their work, as if the changed atmosphere acts as a stimulant for them. These writings in dislocated circumstances are often termed as exile literature. The word “exile” has negative connotations but if the self-exile of a Byron is considered, then the response to that very word becomes ambivalent. If a holistic view of the word “exile” is taken, the definition would include migrant writers and non-resident writers and even gallivanting writers who roam about for better pastures to graze and fill their oeuvre. World literature has an abundance of writers whose writings have prospered while they were in exile. Although it would be preposterous to assume the vice-versa that exiled writers would not have prospered had they not been in exile, the fact in the former statement cannot be denied. Cultural theorists and literary critics are all alike in this view.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The study of world literature might be the study of the way in which cultures recognize themselves through their projections of ‘otherness.’ Where, once, the transmission of national traditions was the major theme of a world literature, perhaps we can now suggest that transnational histories of migrants, the colonized, or political refugees – these border and frontier conditions – may be the terrains of world literature. (Bhabha 12)</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The diasporic production of cultural meanings occurs in many areas, such as contemporary music, film, theatre and dance, but writing is one of the most interesting and strategic ways in which diaspora might disrupt the binary of local and global and problematize national, racial and ethnic formulations of identity.(Ashcroft 218)</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The multivoiced migrant novel gave vivid expression to theories of the “open” indeterminate text, or of transgressive, non-authoritative reading. (Boehmer 243)</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">In an interview with Nikhil Padgaonkar for Doordarshan, Edward W. Said reflected on the condition of exile:</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">I think that if one is an intellectual, one has to exile oneself from what has been given to you, what is customary, and to see it from a point of view that looks at it as if it were something that is provisional and foreign to oneself. That allows for independence—commitment—but independence and a certain kind of detachment. (Said 13)</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">John Simpson in The Oxford Book of Exile writes that exile “is the human condition; and the great upheavals of history have merely added physical expression to an inner fact” (Simpson “Introduction”). Indeed it is so if exile is taken to be identical with self-alienation in the modern, post-Marxist, Brechtian sense of the term. Physical mobility often heightens the spiritual or psychological sense of alienation from the places one continually moves between. The world, in existentialist terms, appears absurd and indifferent towards one’s needs. In such a situation one cannot help but feel like an outsider. Therefore, it is well agreed that exile is a part of the human experience. Many a Shakespearean play has in it exile in the form of banishment and it dates back even before the time of Pericles of Athens. As for writers of yore there is Ovid whose hyperbolic lamentation on being exiled from Rome for publishing an obscene poem forms part of his Tristia I. There is Virgil whose Aeneas leaves Troy urged by the ghost of his wife thereby displaying the writer’s predicament.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The effect that exile has, not on the writers’ work, but on the writers themselves seems apparently paradoxical at first. Exile appears both as a liberating experience as well as a shocking experience. The paradox is apparent because it is just a manifestation of the tension that keeps the strings attached and taut between the writer’s place of origin and the place of exile. Whatever may be the geographical location of the exiled writer, in the mental landscape the writer is forever enmeshed among the strings attached to poles that pull in opposite directions. The only way the writer can rescue oneself from the tautness of the enmeshing strings is by writing or by other forms of artistic expression. The relief is only a temporary condition for no writer’s work is so sharp a wedge that can snap the strings that history-makers have woven. Even if a writer consciously tries to justify one end, simultaneously, but unconsciously, there arises a longing for the other. Therein lies the fascination of exile literature.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Prominent in exile literature are the works of writers who were made to flee their countries by oppressive regimes. Two of the Russian writers namely Gorky and Solzhenitsyn form an amusing pair of victims of political exile. Gorky’s works—especially his communist manifesto Mother—incited the Tsarist regime as much as what Solzhenitsyn’s works—like The Gulag Archipelago – did to the Communists when they came to power. Such is the dichotomy of world politics faced by the writers. If not politics then there are racial segregation, religious discrimination, and war that force writers to flee from their countries. The First World War saw a large exodus of writers who felt that they could not write in wartime Europe as they have previously written. The Second World War saw the Nazi’s persecution of the Jews. Thomas Mann wrote from his refuge in Chicago to Hermann Hesse in Germany about the uprooting and also mentioned that Europe would be a different place after the war (Simpson 227). As it turned out, the whole world became a different place as soon as Enola Gay flew over the sky of Hiroshima. What these writers benefited from their exile was freedom of speech but they could never forget the shock of their original expulsion. They always believed that it was their right to be home, yet those who were privileged to return home, were often disappointed with the changes. At home few friends remained and they missed the society of like-minded intellectuals that they had formed during the time and in the place of their exile. Once-an-exile becomes forever-an-exile and the works of such writers hold the verve of their restlessness.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">In Kafka’s short story The Departure the protagonist mentions that he can reach his goal by “getting out of here.” When asked what his goal was he gives a memorable riposte: “Out of here – that’s my goal” (Quoted in Simpson 96). Many writers get out of their native land because either the weather does not suit them or the society does not suit them or they just get out in search of the springs of Hippocrene for their muse. R. L. Stevenson preferred to live in Samoa because he enjoyed health in the tropics. P. B. Shelley was the quintessential radical. Even before his elopement with Mary Godwin he showed signs of his radicalism by publishing a tract called The Necessity of Atheism for which he was expelled from Oxford. Eventually the conservative English society forced him to leave England. Shelley’s exile from society was so acute that in one of his letters to Mary he expressed his desire to desert all human society. He wrote, “I would retire with you and our child to a solitary island in the sea, [. . .] and shut upon my retreat the floodgates of the world” (Quoted in Simpson 216). On the other hand Byron’s was a self-exile into the continent in search of the fire to keep his muse’s torch burning. He even participated in the Greek War of Independence because England did not provide him with such a stimulating atmosphere in which to write.</span><br />
<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Exile in the form of migration has been the cause of emergence of a large number of writers who have given direction to the progress of English literature. Irish-English writers like G. B. Shaw and W. B. Yeats have produced works that have become landmarks of English literature. Joyce in his novel The Portrait of an Artist as a Young Man writes: “When the soul of a man is born in this country there are nets flung at it to hold it back from flight. [. . .] I shall try to fly by those nets” (Quoted in Simpson 258). Similar was the case with American-English writers like Henry James and especially T. S. Eliot who in his poems expressed his observations about the rootlessness of modern life. As intellectual exiles from America to Europe, they were fleeing from what they perceived to be the provincialism of America and its intellectual barrenness. They fed the European sense of cultural superiority due to their restlessness and incipient exilic predicament. In this regard their exilic condition, apparently, appears to be weak when compared to that of Conrad. Joseph Conrad was born in Poland but had to spend a part of his childhood with his family exiled in northern Russia. He went on to seek refuge first in France and then in Britain. He knew little English till the age of twenty years, yet, when he made his home in Canterbury, Kent, in England he had a considerable amount of English works under his name. D. H. Lawrence did a bulk of his writing while traveling. Such was the case with Katherine Mansfield – first she was away from New Zealand and then she was away from England. The cases of Hemingway and Isherwood, who migrated from the continent to the New World, are still more poignant for they became distinctly established as American writers.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Internal exile is another form of exile that many writers face. Perhaps it is the most damning of all exiles for in this case the exiles stay in their own country and yet are alienated. The Russian writer Dostoevsky looks back in his autobiography on the effect of his Siberian sentence thus: “I had been cut off from society by exile and that I could no longer be useful to it and serve it to the best of my abilities, aspirations, and talents” (Quoted in Simpson 180). In fact it was the colonial powers that made most people aliens in their own country – firstly through linguistic displacement. It is in this colonial context that the native writers spawned the various sub-genres of English literature. Writers like Mulk Raj Anand, R. K. Narayan, and Raja Rao, who established Indian-English literature, were all subjects of the British rule in India. Even after the colonized countries got independence, writers of many of those countries still faced a state of exile—either because of dictatorship in their countries, or because of racial persecution, or because of ethnic cleansing, or because they chose to migrate. African-English writers like Ken Saro-Wiwa, Ngugi wa Thiongo’, Wole Soyinka, and Ben Okri all found themselves in some sort of exilic state.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The Indian-English writers, notably, Raja Rao became an expatriate even before the independence of the country; G. V. Desani was born in Kenya and lived in England, India, and USA; and Kamala Markandaya married an Englishman and lived in Britain (ref. Mehrotra 180, 186, 226). Nirad C. Chaudhuri preferred the English shores because his views were not readily accepted in India. Salman Rushdie’s “imaginary homeland” encompasses the world over. The Iranian “fatwa” phase has added a new dimension to Rushdie’s exilic condition. Colonial and post-colonial India are divisions that are now more relevant to a historian than a littérateur because Indian-English literature has transcended the barriers of petty classifications and has become almost become part of mainstream English literature. A major contribution in this regard has been that of the Indian writers, like Rushdie and Naipaul, who live as world citizens – a global manifestation of the exilic condition. Indian-English writers like Anita Desai, Bharati Mukherjee, Shashi Tharoor, Amitav Ghosh, Vikram Seth, Sunetra Gupta, Rohinton Mistry, Jhumpa Lahiri, and Hari Kunzru have all made their names while residing abroad. The non-resident Indian writers have explored their sense of displacement—a perennial theme in all exile literature. They have given more poignancy to the exploration by dealing not only with a geographical dislocation but also a socio-cultural sense of displacement. Their concerns are global concerns as today’s world is afflicted with the problems of immigrants, refugees, and all other exiles. These exilic states give birth to the sense of displacement and rootlessness.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The Indian diaspora has been formed by a scattering of population and not, in the Jewish sense, an exodus of population at a particular point in time. This sporadic migration traces a steady pattern if a telescopic view is taken over a period of time: from the indentured labourers of the past to the IT technocrats of the present day. Sudesh Mishra in his essay “From Sugar to Masala” divides the Indian diaspora into two categories – the old and the new. He writes that:</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">This distinction is between, on the one hand, the semi-voluntary flight of indentured peasants to non-metropolitan plantation colonies such as Fiji, Trinidad, Mauritius, South Africa, Malaysia, Surinam, and Guyana, roughly between the years 1830 and 1917; and the other the late capital or postmodern dispersal of new migrants of all classes to thriving metropolitan centres such as Australia, the United States, Canada, and Britain. (Mishra 276)</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Especially after Indian independence the Indian diasporic community has acquired a new identity due to the processes of self-fashioning and increasing acceptance by the West.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">It is interesting to note that the history of diasporic Indian writing is as old as the diaspora itself. In fact the first Indian writing in English is credited to Dean Mahomed, who was born in Patna, India, and after working for fifteen years in the Bengal Army of the British East India Company, migrated to “eighteenth century Ireland, and then to England” (Kumar xx) in 1784. His book The Travels of Dean Mahomet was published in 1794. It predates by about forty years the first English text written by an Indian residing in India, Kylas Chunder Dutt’s “imaginary history” A Journal of Forty-Eight Hours of the Year 1945 published in 1835 (ref. Mehrotra 95). The first Indian English novel, Bankimchandra Chatterjee’s Rajmohan’s Wife, was to be published much later in 1864. It shows that the contribution of the Indian diaspora to Indian writing in English is not new. Also interestingly, the descendants of the Indian indentured labourers in the so called “girmit colonies” have predominantly favoured writing in English, the lingua franca of the world. The likes of Seepersad Naipaul and later Shiva Naipaul, V. S. Naipaul, Cyril Dabydeen, David Dabydeen, Sam Selvon, M. G. Vassanji, Subramani, K. S. Maniam, Shani Muthoo, and Marina Budhos are significant contributors in that field.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">V. S. Naipaul’s characters, like Mohun Biswas from A House for Mr. Biswas or Ganesh Ramsumair fromThe Mystic Masseur, are examples of individuals who are generations away from their original homeland, India, but their heritage gives them a consciousness of their past. They become itinerant specimen of the outsider, the unhoused, for the world to see. Their attempts at fixity are continuously challenged by the contingency of their restless existence – a condition grown out of their forefathers’ migration, albeit within the Empire, from India to Trinidad. Naipaul’s characters are not governed by actual dislocation but by an inherited memory of dislocation. For them their homeland India is not a geographical space but a construct of imagination. Their predicament can be explained in Rushdie’s words: “the past is a country from which we have all emigrated, that its loss is part of our common humanity” (12). The novels of the older generation of diasporic Indian writers like Raja Rao, G. V. Desani, Santha Rama Rau, Balachandra Rajan, Nirad Chaudhuri, and Ved Mehta predominantly look back at India and rarely record their experiences away from India as expatriates. It is as if these writers have discovered their Indianness when they are out of India. Obviously they have the advantage of looking at their homeland from the outside. The distance affords them the detachment that is so necessary to have a clear perception of their native land. In that sense, through their writing, they help to define India.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Makarand Paranjape notes “that instead of worshipping the leftovers and relics of a now inaccessible homeland as the old diaspora of indentured labourers did, the new diaspora of international Indian English writers live close to their market, in the comforts of the suburbia of advanced capital but draw their raw material from the inexhaustible imaginative resources of that messy and disorderly subcontinent that is India” (252). These writers record their away from India experiences and even if they look back at their homeland it is often in an elegiac tone rather than with nostalgia. Paranjape explicates this point in considering the novels of Rohinton Mistry (251). Ultimately Indian writers in the West are increasingly identifying themselves with the literary tradition of the migrant writers of the world. Rushdie says that “Swift, Conrad, Marx [and even Melville, Hemingway, Bellow] are as much our literary forebears as Tagore or Ram Mohan Roy” (20).</span><br />
<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The modern diasporic Indian writers can be grouped into two distinct classes. One class comprises those who have spent a part of their life in India and have carried the baggage of their native land offshore. The other class comprises those who have been bred since childhood outside India. They have had a view of their country only from the outside as an exotic place of their origin. The writers of the former group have a literal displacement whereas those belonging to the latter group find themselves rootless. Both the groups of writers have produced an enviable corpus of English literature. These writers while depicting migrant characters in their fiction explore the theme of displacement and self-fashioning. The diasporic Indian writers’ depiction of dislocated characters gains immense importance if seen against the geo-political background of the vast Indian subcontinent. That is precisely why such works have a global readership and an enduring appeal. The diasporic Indian writers have generally dealt with characters from their own displaced community but some of them have also taken a liking for Western characters and they have been convincing in dealing with them. Two of Vikram Seth’s novels The Golden Gate and An Equal Music have as their subjects exclusively the lives of Americans and Europeans respectively.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Two of the earliest novels that have successfully depicted diasporic Indian characters are Anita Desai’sBye-Bye Blackbird and Kamala Markandaya’s The Nowhere Man. These novels depict how racial prejudice against Indians in the UK of the 1960s alienates the characters and aggravate their sense of displacement. Bharati Mukherjee’s novels like Wife and Jasmine depict Indians in the US – the land of immigrants, both legal and illegal – before globalization got its impetus. Salman Rushdie in the novel The Satanic Versesapproaches the allegory of migration by adopting the technique of magic realism. The physical transformation of Gibreel Farishta and Saladin Chamcha after their fall from the bursting jumbo jet on the English Channel is symbolic of the self-fashioning that immigrants have to undergo in their adopted country. Chitra Banerjee Divakaruni in her novel The Mistress of Spices depicts Tilo, the protagonist, as an exotic character to bring out the migrant’s angst. Amitav Ghosh’s novel The Shadow Lines has the character Ila whose father is a roaming diplomat and whose upbringing has been totally on foreign soils. She finds herself as much out of place in India as any foreigner. But when she conjures up the story of her doppelganger Magda being rescued by Nick Price from Denise, it shows the extent of her sense of rootlessness. Amit Chaudhuri in his novel Afternoon Raag portrays the lives of Indian students in Oxford. Similarly, Anita Desai in the second part of her novel Fasting, Feasting depicts Arun as a migrant student living in the suburbs of Massachusetts. The important point to note is that in a cosmopolitan world one cannot literally be a cultural and social outsider in a foreign land. There are advantages of living as a migrant – the privilege of having a double perspective, of being able to experience diverse cultural mores, of getting the leverage provided by the networking within the diasporic community, and more. But it is often these advantages that make diasporic Indians, especially of the second generation, encounter the predicament of dual identities. Such ambivalence produces existential angst in their psychology. The world simply refuses to become less complex.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">The diasporic Indian writers of the first generation have already established their credentials by winning numerous literary awards and honours. But recently the ranks of the second generation of Indian writers in the West have swelled enormously and many among them have won international recognition. Meera Syal, who was born in England, has successfully represented the lives of first generation as well as second generation non-resident Indians in the West in her novels Anita and Me and Life Isn’t All Ha Ha Hee Hee. Hari Kunzru in his novel Transmission traces a part of the lives of three diverse characters Leela Zahir, an actress, Arjun Mehta, a computer expert, and Guy Swift, a marketing executive – traversing through Bollywood, the Silicon Valley, and London. Sunetra Gupta has shown with candor both the unpleasantness and the pleasantness of intercultural relationships through characters like Moni and Niharika from her novels Memories of Rain and A Sin of Colour. Jhumpa Lahiri’s book of short stories Interpreter of Maladiesand her novel The Namesake convincingly illustrate the lives of both first generation and second generation Indian migrants in the US. This is possible because big issues like religious intolerance and racial discrimination are no longer the main concern of these writers. What matters now in the current world are the small things. Little, unacknowledged things gain enormous importance in changed circumstances. It is here that the differing reactions by Indian, Western, and diasporic characters towards similar situations are found to differ only superficially. It demonstrates that the inner needs of all human beings are the same. Alienation is a part of the experience of the Indian diaspora and even if people are at home in any part of the world it does not mean that they will not become victims of the sense of alienation. Increasing acceptance into the host society does not indicate that that the diasporic characters can feel at home. Social alienation is replaced by metaphysical alienation.</span><br />
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<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Criticism 1981 – 1991, London: Granta Books, 1991.</span><br />
<br style="color: #222222; font-family: arial; font-size: small;" />
<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Said, Edward W. “Reflections of an Exile.” Biblio: A Review of Books,Volume IV, Number 11 & 12. Ed. Arvind N. Das. New Delhi: Brinda Datta, Nov-Dec 1999.</span><br />
<br style="color: #222222; font-family: arial; font-size: small;" />
<span style="background-color: white; color: #222222; font-family: arial; font-size: x-small;">Simpson, John (ed.). The Oxford Book of Exile. Oxford: Oxford Univ. Press, 1995.</span><br />
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<br style="color: #222222; font-family: arial; font-size: small;" /><br />Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com0tag:blogger.com,1999:blog-6183840755755458300.post-91906265452130624682013-03-29T12:32:00.001-07:002013-03-29T12:56:10.806-07:00<br />
<br />
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<span style="border: 1pt none windowtext; font-family: Cambria, serif; padding: 0in;"><span style="color: red; font-size: x-large;">Where Shall We Go This Summer</span></span></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Price: <span class="apple-converted-space"> </span>Rs.
60<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">ISBN: <span class="apple-converted-space"> </span>81-222-0088-5<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Author:
Anita Desai <u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Pages: <span class="apple-converted-space"> </span>157<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Part-
3<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Edition:
Hardcover<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<b><span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;">Volumes: <span class="apple-converted-space"> </span>7<u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></b></div>
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<span style="border: 1pt none windowtext; font-family: Cambria, serif; font-size: 14pt; padding: 0in;"><b>Published: 7thprinting-2001</b><u1:p></u1:p></span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;"> Times of India rightly describes the novel as,-“ Skilful dramatization...the narrative is precariously perched between myth and social reality...for the talent itself, as the novel evidences, is exceptional in its innate sensibility and awareness of the craft of fiction." There is no doubt that Anita Desai has a distinguished style of writing.<span class="apple-converted-space"> </span> Use of adjective, rich vocabulary, long<span class="apple-converted-space"> </span></span><span style="background: white; color: #222222; font-family: "Cambria","serif"; font-size: 14.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">complex sentences,</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="background: white; color: #222222; font-family: "Cambria","serif"; font-size: 14.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">hyperbole</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">in this novel revivifies the readers in surroundings of sea beaches, natural beauty of village and villager’s magnificence at Manori <span class="apple-converted-space"> </span>Island in Mumbai. </span><span style="font-family: Cambria, serif; font-size: 14pt;">The book</span><span class="apple-converted-space" style="font-family: Cambria, serif; font-size: 14pt;"> </span><i style="font-family: Cambria, serif; font-size: 14pt;">Where
Shall We Go This Summer</i><span class="apple-converted-space" style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">is
dedicated to her husband Ashwin Desai has three parts . There is a symbolic
query of women protagonist to go to such place where she can get answers of her miseries--which shows lack of suitability in city life- however novel ends with happy note with the treatment of cultural agony. The center character Sita feels
frustration in suffocative environment of a four walls flat life in Mumbai.
Raman and Sita- husband and wife have incompatible temperaments and attitudes
towards life. Raman – her husband is busy in his job. He fails to fulfill her
wife’s expectation. Hence, Sita remains lonely even after marriage. Sita
-middle-aged woman represents a world of sensitivity, high ambition, emotion,
confusion and feminine sensibility while Raman is very firm and
practical, he never hesitates- everything is clear to him and simple. Like
earlier novels, this novel also illustrates the cultural agony of woman
-loneliness, alienation, nostalgia, up rootedness, loss of Identity, lack of
communication in married life - Deasi's experience of disorders and agony caused by marriage.</span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;">Like Maya in Cry, the Peacock- Sita is motherless.
However, her father is a freedom fighter but always surrounded by his friends,
always busy with his chelas and patients. She yearns to have the attention and
love. In lack of mental and emotional company -most of the times, Sita feels
herself as an ignored personality since childhood. Desai once
again shows the glimpses of repressed childhood neurosis in this novel too which makes Sita
disappointed and nostalgic. Childhood memories bewilders her psyche to go back to her father escaping city life of Mumbai-- reality and responsibilities of adult and mature life. In order to spend her
days at Manori island to which she considers as the land of miracle -to get
treatment of her problem in her fifth pregnancy about
seven month </span><span style="font-family: Cambria, serif; font-size: 19px;">with her four children</span><span style="font-family: Cambria, serif; font-size: 19px;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">-she moves towards Manori island- a beautiful sea beach full with
abundant natural and rustic beauty.</span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"> On the contrary, Raman is unable to understand
–Sita as a sufferer from pessimism, worry and anxiety with which Sita reacts
against every incident. Menaka her daughter wants to make her career in Medical
-Science. In order to pursue her career she writes a letter to her father Raman
without informing Sita to fetch them from Manori to Mumbaiu. However, Sita does
not want to return home but when Raman comes and clears the situation to face
reality of life, to give birth to child as she can not keep it in her womb
forever as per her abnormal wish. Sita does introspection of her husband’s
quality, her behavior and attitude towards her and decides to go back happily
to Mumbai with her children and husband- her family.<o:p></o:p></span></div>
Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com0tag:blogger.com,1999:blog-6183840755755458300.post-73093713025306169892013-03-24T03:53:00.002-07:002013-03-31T05:02:16.980-07:00<span style="font-family: Times, Times New Roman, serif;"><br /></span>
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<span style="font-family: Times, Times New Roman, serif; font-size: 14.0pt;">Bye-
Bye Blackbird<o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Publisher - Orient Paperbacks.</span><span style="font-size: 14pt;"> </span></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Price: Rs.
60<o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">ISBN: 81-222-0029-X<o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Author: Anita Desai <o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Pages: 230<o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Part- 3<o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Edition: Hardcover<o:p></o:p></span><br />
<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Volumes:
5<o:p></o:p></span><br />
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<span style="border: none windowtext 1.0pt; font-family: Times, Times New Roman, serif; font-size: 14.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Published: 5thprinting-2001<o:p></o:p></span></div>
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<i><span style="font-family: Cambria, serif; font-size: 14pt;">Bye-Bye Blackbird</span></i><span style="font-family: Cambria, serif; font-size: 14pt;"> (1971) -Winner of <i>Sahitya Academi</i>
<i>Award</i> focuses on Desai’s experiences
of the traumatic life of the Indian Diaspora. In this novel, we find theme of East
and West encounter - different </span><span style="font-family: Cambria, serif; font-size: 14pt;">philosophical outlook- what really is the difference between marital
displacement and the feeling of up rootedness in alien country is penned through
the emotion of Desai. Desai portrays Indian-the blackbirds with tough time in
England. In this novel, Adit and Sarah –husband and wife have different mind-set
adding to Diaspora sensibilities. Adit and his friend Dev represent emigrant’s different
feelings, situations, and the treatment of different issues related to
Diasporas. Desai attempts to capture the very essence of culture and tradition of India as well as London. </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><br />
<span style="font-family: Cambria, serif; font-size: 14pt;"><br /></span>
<span style="font-family: Cambria, serif; font-size: 14pt;">There are three parts of
the Novel- First- Dev’s arrival and his experiences in London and longing for
India. Novels begin in London’s background. </span><span style="font-family: Cambria, serif; font-size: 19px;">Adit Sen - from India has a good job of travel agent in London and lives a happy and satisfying life with his English wife Sarah. He loves London’s splendid, grand materialism, whereas his friend Dev who comes England to Adit for some studies at ‘London School of Economics’ and subsequent employment values Indian spiritual culture.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 19px;">Dev misses badly Indian morning, mother’s prayer and a cup of tea from mother. </span><span style="font-family: Cambria, serif; font-size: 14pt;">However, Adit-</span><span style="font-family: Cambria, serif; font-size: 19px;"> an Indian soul i</span><span style="font-family: Cambria, serif; font-size: 14pt;">s full of dreams and aspirations to rise as rich with high status, wealth, and power in London .He thinks gold is scattered everywhere like Sarah's hair in London . He does not want to go back to India for clerical government job . He loves wearing tweed on a foggy November day. He likes Convent Garden Opera House with its chandelier like a hive of fireflies. He likes girls there and dancing with them. He likes thatched cottages and British History and reading the letters in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">The Times</span></i><span style="font-family: Cambria, serif; font-size: 14pt;">. </span><span style="font-family: Cambria, serif; font-size: 19px;">While living in London Dev becomes nostalgic for every little and ignored thing in India.</span><span style="font-family: Cambria, serif; font-size: 14pt;">He talks about</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">puja</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">to the rising sun and strictly instructs Adit to live with the Indian values. </span><span style="font-family: Cambria, serif; font-size: 14pt;">Moreover, Adit likes pub, economic freedom, social freedom, reading posters in the tube, walking near Thames, ravens- mad black witches croaking and raving which he can not get at Calcutta.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> On the contrary ,</span><span style="font-family: Cambria, serif; font-size: 14pt;">Dev fills with disgust with western culture philosophy-‘eat drink and merriment’ and
calls London a ‘Jungly city'. Dev appreciates natural divine beauty of Himalayan
hill station, Simla or Mussoorie or Darjiling and other little towns. While in London
everything is new to Dev beyond his Indian imagination and experience. </span><br />
<span style="font-family: Cambria, serif; font-size: 14pt;"><br /></span><span style="font-family: Cambria, serif; font-size: 14pt;"> Adit finds London
as land of opportunity where he came to adventuring it. To be exact, Adit and
Dev are friends’ but Adit loves London and its Culture, prosperity, facility
which he can not find in India Whereas Sarah is fascinated by eastern culture,
music, food and religion. Adit loves Sarah, she is from England. Adit lives as
a tenant at Emma Motiff’s House who is interested very much in Indian culture
but jealous lover of India. The reason why Emma Motiff loves India is She
had been engaged to a young British soldier who had served in India and died
there of dysentery and was buried in Ambala. She had his letters and gifts
wrapped in Cashmere shawl for thirty years. Emma feels alienated and lonely
living inside her lonely shell and shares some happy moments with Sarah (who
has the same feeling born out of cultural dilemma) to talk on Indian great
Indian artists and its great and soothing and peaceful culture. Emma
Motiff arranges inauguration of ‘Little India Club’ with joining of all the
Indian immigrants in auspicious presence of Swami.</span><br />
<span style="font-family: Cambria, serif; font-size: 14pt;"><br /></span>
<br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Sarah being the wife of Adit
Sen- sometimes thinks as she does have any existence at all-whether she is
English or Indian, whether she is married to Adit Sen having his identity or
she has her father’s identity as Sarah Rose common James? By marrying Adit-an
Indian Sarah is alienated from her own country’s people. Desai’s use of
narrative technique with stream consciousness symbols and imagery is wonderful.
The complexity of modern Indian culture is presented with what exactly is the
difference between marital displacement and the feeling of uprootedness in an
alien country.</span><span style="font-family: Cambria, serif; font-size: 14pt;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: Cambria, serif; font-size: 14pt;"><br /></span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;">Despite of positive
impression of England on Adit, he admits nostalgic reveries of his native land.
Adit longs for native-Calcutta food. He lives in England but is a sufferer of
cultural dilemma-a complicated worrying thinking of people. As a result, with
bagful gifts to his family members Adit wants to go India by air as he had a
bad experience of travelling by Sea among Muslims who were going to Mecca. On
the other side, Dev manages to find a job and thus decides to stay in London forgetting insult, hurt and humiliation in public and private places .He forgets insult,feeling of unwanted person, and being called a 'wog'. At the end Adit yearns to be in India.He longs for Calcutta food and people and on account of declaration of war by Pakistan in India Adit happily moves to India with his pregnant wife Sarah saying bye bye to Blackbird-Indian immigrants. </span><span style="background: white; color: #222222; font-family: "Cambria","serif"; font-size: 14.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Thus, Expatriation of the
individual is a persistent theme in Anita Desai’s novels.</span><br />
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com0tag:blogger.com,1999:blog-6183840755755458300.post-72812554864752232482013-03-23T11:02:00.002-07:002013-04-01T00:52:11.785-07:00<br />
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Voices in the City</span></b><br />
<b><span style="font-size: large;"><br /></span></b></div>
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<b style="text-align: justify;"> <span style="font-family: Times, Times New Roman, serif;">Publisher - Orient Paperbacks</span></b></div>
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<span style="font-family: Times, Times New Roman, serif;"><b> </b><b>Price: 60</b><b> </b></span></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> ISBN: 81-222-0053-2</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Author: Anita Desai </span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Pages: 257</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Part- 4</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Edition: Hardcover</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Volumes: 7</span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif;"> Published: 9thprinting-2001</span></b></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;">Anita Desai like</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"><i> </i>her</span></span><span style="font-family: Cambria, serif; font-size: 19px;"> first novel </span><span style="font-family: Cambria, serif; font-size: 19px;"> </span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Cry the Peacock</span></i><span style="font-family: Cambria, serif; font-size: 14pt;"> (1963) </span><span style="font-family: Cambria, serif; font-size: 19px;">wins the </span><i style="font-family: Cambria, serif; font-size: 19px;">Sahitya Academy</i><span style="font-family: Cambria, serif; font-size: 19px;"> award for her </span><span style="font-family: Cambria, serif; font-size: 14pt;">second novel too-<i>Voices in the City</i> (1965) concentrating on the</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">theme of occurrence of displacement after marriage.</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">Be it Maya in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Cry, the Peacock</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">or be it Monisha in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Voices in the city</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">– both are not able to free themselves from old accustomed,
traditions, beliefs and feelings that repress their self-expression and are an
obstacle to their talent, endurance and their self-control. In fact, Maya in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Cry, the Peacock</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">and Monisha in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Voices in the City</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">are well educated,
emotional sensitive, self-conscious women. But they are not able to revolt
against tradition and this becomes one of the major reasons as change does not come until
their death. The eternal silence of these two characters Maya and Monisha can
be called as surrender to the diverse socio- cultural circumstances categorized
as the silence of despair, anger, protest, agony, cultural duality or
combinations of all having deep agonizing experience in the process of settlement
in a new place as one undergoes to cultural dilemma and panic feelings of
displacement.</span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"><br />
Background of novel is set in Calcutta. Calcutta served as the capital of India
till 1911. Many people are from Calcutta among several Nobel laureates have
contributed to the arts, the sciences, and other areas. Calcutta the principal
commercial, cultural and educational centre of East India is described with the
images of Howrah, Choringhee, and Grand Hotel, Victoria Memorial etc. There is
ample evidence of culture of Calcutta displaying food (non vegetarian pan),
cloth (sari, dhoti), place, language (Bengali), tradition (Kumkum, red Sari),
religion (Durga Puja) etc. </span><span style="font-family: Cambria, serif; font-size: 14pt;">According to Hindu mythology we are now in Kali-Yuga -the fourth stage of the cosmic time frame</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">which will eventually lead to the final dissolution of the universe.</span><span class="apple-converted-space"><b><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></b></span><span style="font-family: Cambria, serif; font-size: 14pt;">That is the reason this is called as</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Kaliyug</span></i><span style="font-family: Cambria, serif; font-size: 14pt;">. The old name of Calcutta is</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Kali-kata. </span></i><span style="font-family: Cambria, serif; font-size: 14pt;"> In Hinduism,</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Kali</span></i><span class="apple-converted-space"><i><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></i></span><span style="font-family: Cambria, serif; font-size: 14pt;">is the most ferocious deity form with destructive power -standing with one foot on the thigh, and another on the chest of her husband, Shiva. The voice of city Calcutta -is voiced as a city of ‘death’. </span><span style="font-family: Cambria, serif; font-size: 14pt;">Anita Desai's matchless, sharp and meticulous
narrative technique of art to portray each and every little feature of the
scene, manner of walking, speaking, wearing clothes - an image as if it
is happening right now in front of us-around. Calcutta is the city of</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Kali</span></i><span style="font-family: Cambria, serif; font-size: 14pt;">.</span></div>
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<i><span style="font-family: Cambria, serif; font-size: 14pt;"><br />
</span></i><span style="font-family: Cambria, serif; font-size: 14pt;">The
novel</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Voices in the City</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">(1965) a story of a psychological problem of a Bohemian
family-Arun, Nirode, Monisha and Amla and their mother. The story revolves
around the cultural change of city Calcutta and its repercussion on them.</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Voices in the City</span></i><span class="apple-converted-space"><i><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></i></span><span style="font-family: Cambria, serif; font-size: 14pt;">is divided into four
separated chapters dealing respectively four major characters- Nirode, Monisha,
Amla, and Mother. Arun (sent to England for higher studies) is a successful
person who achieves glorious awards and bright opportunities to move further in
life. However, Nirode feels envious due to pessimistic opinion of childhood
days spent with Arun under father care. It leads severe friction in his life.
Niride, Monisha and Amla are the victim of personal suffering who needs
guidance, direction and inspiration to satisfy young hopes and aspiration in
cultural sphere of metropolitan life. Mother has very formal, distant
relationship with their children because of her extra marital affair with major
Chaddha. Nirode is obsessed with her unfair relationship and considers her a
she-cannibal as she has an affair in Kalimpong which itself is a consequence of
dissonance in husband-wife relationship.<o:p></o:p></span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"><br />
The novel begins with Nirode’s frustration, disappointment and hopelessness
towards life. Nirod is financial weak who wants to get the chance to start up a
new carrier as an editor of vastly artistic little periodical ‘Voice’. Like
boss-as editor of ‘Voice’, Nirode allows him to grow professionally to become
tender towards his beloved friends to make his relationship comprehensible and
organized- Sonny (son of Jamindar who loves dogs and whose father is fond of
owning leopard), Professor (who is an old man, writes school text, teacher of
primary school, wears dhoti.), Jit Nair (who has the brilliant prodigy of
Southern university and has come to Bengal to assert himself amongst the
renowned artists and litterateurs. Jit is married to Sarla, mourns over his
lost days often.)Dharma (married with a woman who is simple, cultured, wears
red Sari, Kumkum marked hair. Dharma is only the man whose criticism and advice
Nirode takes seriously), David (Whose company Nirode likes very much) and
discuss on painting, fable from Panchtantra ,Picasso ,eminent poets, love for
Tagore’s <i>Gitanjali</i>, creative writing, non vegetarian food (i.e. meat ball,
<i>pulaos </i>) Nirode however, dislikes dogs at Sonny’s home but likes Bengal Pan.
Nirode loves historical places in Calcutta and has a good discussion with
Sonny’s father on comparison between greatest classical artists and
contemporary artists reminding Mumtaz and Jahan Ara begam. In company of
his good friends he feels serene and surprisingly cheerful at work with promising
good career advancement. Nirode finds her mother’s letter but Nirode's
relationship with his mother is a love-hate relationship.<o:p></o:p></span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"><br />
While his elder sister, Monisha is married to Jiban lives out a traditional
Hindu life. Monisha is misfit in her husband’s home. After marriage, Monisha is
subjected to serious nature of loneliness and lack of communication leading
displacement problem. Also difference between the two person and two family background and incompatible temperament
results displacement. Monisha's husband Jiban is captivated in conservative culture. He believes that a woman’s most important roles besides
child bearing are cooking, cutting vegetables, serving food and brushing small
children's hair under the authority of a stern mother-in-law. </span><span style="font-family: Cambria, serif; font-size: 19px;">Monisha is childless woman. </span><span style="font-family: Cambria, serif; font-size: 14pt;">Jiban is never with her; always he is busy with his middle rank
government job earning money for his joint family. He ignores her newly married
wife’s desires and expectations. As a result, Monisha feels deserted. </span><span style="font-family: Cambria, serif; font-size: 19px;">Her diary shows as she is imprisoned in four wall of conventional culture of her matrimonial family</span><span style="font-family: Cambria, serif; font-size: 14pt;">. She desperately yearns to have her own baby. Due her Gynecological problem s</span><span style="font-family: Cambria, serif; font-size: 19px;">he can not have a child</span><span style="font-family: Cambria, serif; font-size: 19px;"> and</span><span style="font-family: Cambria, serif; font-size: 14pt;"> suffers from
severe mental disorder- Claustrophobia l</span><span style="font-family: Cambria, serif; font-size: 14pt;">ike Maya in</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Cry, the Peacock</span></i><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">. She is alienated from his
mother as well as her husband. Monisha experiences difficulty in transforming from old atoned
mental, emotional framework into the changed new identity. </span><span style="font-family: Cambria, serif; font-size: 19px;">Monisha</span><span style="font-family: Cambria, serif; font-size: 19px;"> is the reflections of misbehave and domestic violence by her husband and family. </span><span style="font-family: Cambria, serif; font-size: 19px;">No one is there with Monisha to think of her agony and solve problem.</span><span style="font-family: Cambria, serif; font-size: 19px;"> </span><span style="font-family: Cambria, serif; font-size: 19px;">Her sister</span><span style="font-family: Cambria, serif; font-size: 14pt;"> Amla is a commercial
artist in Bombay who does not find ways to life in Bombay and returns Calcutta and
falls in love with -Dharma. As Monisha is not able to become mother she is blamed as a thief
of gold necklace at her own home by her husband and mother-in-law that was
unbearable for her. She experiences hurt and humiliation in </span><span style="font-family: Cambria, serif; font-size: 19px;">Jiban's</span><span style="font-family: Cambria, serif; font-size: 14pt;"> world. To get relief from disturbed mental condition; to find emotional
treatment she seeks solution in detachment theory of Gita and ultimately finds no way of survival. These all cruel
realities of life as a self -punishment caused her to commit suicide.
Similarly, Nirode’s frustrate, disappointed mind becomes hindrance in the path
of peace and hope which ultimately pushing him in blind valley of death. In the
words of Salman Rashdie in </span><i style="font-family: Cambria, serif; font-size: 14pt;">Imaginary Homelands: Essay and
Criticism: </i><span style="font-family: Cambria, serif; font-size: 14pt;">“Sometimes we feel straddle two cultures; at other times.
That we fall between two tools”.</span><br />
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<div style="margin: 0in 0in 0.0001pt;">
<br /></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0in; text-align: center;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Work Cited<o:p></o:p></span></div>
<u1:p></u1:p>
<br />
<div align="center" style="margin-bottom: .0001pt; margin: 0in; mso-line-height-alt: 9.0pt; text-align: center;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Desai,
Anita.</span><span class="apple-converted-space"><i><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></i></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Voices in the City.</span></i><span class="apple-converted-space"><i><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></i></span><span style="font-family: Cambria, serif; font-size: 14pt;">Delhi, Orientpaperbacks, 2001.Print<o:p></o:p></span></div>
<u1:p></u1:p>
<br />
<div align="center" style="margin-bottom: .0001pt; margin: 0in; mso-line-height-alt: 9.0pt; text-align: center;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Rashdie
Salman,</span><span class="apple-converted-space"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></span><i><span style="font-family: Cambria, serif; font-size: 14pt;">Imaginary Homelands: Essay and Criticism</span></i><span style="font-family: Cambria, serif; font-size: 14pt;">: 1981-1991 Diaspora<o:p></o:p></span></div>
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com0tag:blogger.com,1999:blog-6183840755755458300.post-30633958444728363602013-03-23T09:58:00.000-07:002013-03-31T05:01:06.026-07:00<br />
<h2 style="font-family: Arial, Helvetica, sans-serif; font-weight: normal; margin: 6px 0px; padding: 0px; text-align: center;">
<span style="font-size: large;">Cry, The Peacock</span></h2>
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<span style="font-size: large;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<div>
<b> </b><br />
<a href="http://blogs.nlb.gov.sg/highbrowseonline/wp-content/uploads/images/Images/clip_image002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://blogs.nlb.gov.sg/highbrowseonline/wp-content/uploads/images/Images/clip_image002.jpg" height="320" width="216" /></a><b> Publisher- Orient Paperbacks.</b></div>
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<b><br /></b></div>
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<b>Price: Rs. 50</b></div>
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<b><br /></b></div>
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<b>ISBN: 81-222-0085-0</b></div>
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<b><br /></b></div>
<div>
<b>Author: Anita Desai </b></div>
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<b><br /></b></div>
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<b>Pages: 218</b></div>
<div>
<b><br /></b></div>
<div>
<b>Part- 3</b></div>
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<b><br /></b></div>
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<b>Edition: Hardcover</b></div>
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<b><br /></b></div>
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<b>Volumes: 9</b></div>
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<b><br /></b></div>
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<b>Published: 9thprinting-2001</b></div>
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<span style="font-family: "Cambria","serif"; font-size: 14.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">As a novelist, Anita Desai began
her career with <i>Cry, The Peacock</i> (1963) which carved a niche
to be the first psychological novel in English Literature winning <i>Sahitya
Akademi Award</i>. <i>Cry, The Peacock</i> is mainly concerned with
the theme of occurrence of displacement after marriage – a major cause of
disharmony between husband and wife relationship. Desai looks in to the reasons
for displacement after marriage and illustrates how such two extremes, two
incompatibles get married and how their union leaves an agonizing effect
on family. Part one of the novel<i> </i>begins with Maya’s
psychological tension with death of her pet dog Toto – bad sign of her
fortune. The background of Novel is set in Delhi and Luck now. Delhi is
the place where Maya lives after marriage. There is cultural diversity in Delhi
sharing its borders with Uttar Pradesh, Punjab, Rajasthan, and Haryana. Desai
presents different temperament of husband and wife to be responsive to the behavior
patterns which cause severe problem of loneliness and
alienation leading to agonized end- death. Desai uses imagery, symbol
simile, metaphor, alliteration, allegory, anastrophe, antagonist, aphorism,
irony, periphrasis, oxymoron, unity and other figure of speeches to reflect the
effect of poetry. Sunday Telegraph ,U.K. says- a poetry novel . Has a
great sense of place.<o:p></o:p></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: Cambria, serif; font-size: 14pt;">The novel is a story of young, hyper sensitive,
motherless, lovelorn, Maya (who spends her maiden days under extreme love and
care of her father) and her husband Gautama- friend of his father. <i>Cry,
the Peacock </i>is in fact, the’ cry’ of Maya for her husband’s love -
physical, mental and emotional. Maya compares her agony with peacock justifying
the ‘title’ of the novel. Cry for ‘mating’ of the peacocks in the wild
signifies desperate desire to give and get ‘love’ even on account of death. Maya is nature, art and literature lover -poetic and energetic while
Gautama is </span><span style="font-family: Cambria, serif; font-size: 19px;">- an advocate by profession , realistic, insensitive, rational, </span><span style="font-family: Cambria, serif; font-size: 19px;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">detached and philosophical who is never able to realize the
emotional and sensitive world of Maya. Maya bored with Gautama’s official work
and monotonous life in Delhi gets frustrated, depressed and hysterical. It is a
cultural shock for her to be physical alone; alienated even after marriage and
as a result she becomes nostalgic. Gautama never understands and appreciates
her wife’s wishes, fear, hopes and expectation. Hence, Maya feels lost in her
thoughtful world- rejected, dejected and deserted -trying to find what the
meaning of human life is? She co-relates her problems with nature,
pets, arts, literature, astrology, plants, animals and people around her to
find solution of displacement after marriage.</span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;">Maya has the mind frame of certain death in her fourth
year of marriage as per the prophecy of priest astrologer –Albino. Thus,
alienated from all side, Maya is frightened and suffering from loss of
identity, existentialism nostalgia, rootlessness. As a result, she becomes
severe patient of Megalomania, Schizophrenia, Hallucination and other psychic
disorders. Gradually, the matrimonial thread gets weak and breakable-Maya has
no hope; no possibility to save her married life. Maya experiences herself like
a leaf flying in the storm without knowing where to find rest and solace.In
this severe climax of agony, Maya kills her husband and commits suicide.<o:p></o:p></span></div>
<u2:p></u2:p>
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<div style="margin-bottom: .0001pt; margin: 0in;">
<u3:p></u3:p><span style="font-family: Cambria, serif; font-size: 14pt;">This is atrocity of
Metropolitan city Delhi which results cultural agony as lack of communication,
disappointment, cultural dilemma, frustration, hopelessness, nostalgia,
rootlessness – the causes of displacement after marriage are present in between
husband and wife.<o:p></o:p></span></div>
<u2:p></u2:p>
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<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Name of the novel and characters are
symbolic. Peacock cries out sensing a danger or threat to communicate each
other for joy, calling out for a mate's attention to inform the danger with
vivacious sounds. Mating of the peacocks in the wild signifies desire with
death. Intellectual detached ‘Gautama’ is related to Gautama Buddha
whereas meaning of <i>Sanskrit </i>word ‘Maya’ is strong desire for
worldly pleasure - an illusion whose controller is Lord Krishna. Those who
surrender to Krishna are able to surmount illusory energy.<o:p></o:p></span></div>
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<span style="font-family: Cambria, serif; font-size: 14pt;"> Work
Cited</span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: Cambria, serif; font-size: 14pt;">Desai,Anita.<i> Cry, The Peacock. </i>Delhi,Orientpaperbacks,2001.Print<o:p></o:p></span></div>
<u2:p></u2:p></div>
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com0tag:blogger.com,1999:blog-6183840755755458300.post-3164813873712677832013-01-28T07:02:00.001-08:002013-01-28T09:00:20.969-08:00<br />
<div style="text-align: center;">
<span style="background-color: white; font-family: arial, sans-serif;"><span style="color: red; font-size: x-large;"><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;">Touch</span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;"> </span></span></span></div>
<div style="background-color: white; font-size: 13px;">
<br style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;" />
<br style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;" />
<div style="text-align: center;">
<br /></div>
</div>
<br />
<br />
<div style="text-align: center;">
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<span style="color: #8e7cc3; font-size: large;"><i>I m swinging in between you and me.</i></span></div>
<div>
<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
<div>
<span style="color: #8e7cc3; font-size: large;"><i>where is my inner power to feel you? </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>satisfying sense with soft ,polite form?</i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>giving some drops of water in dried desert ? </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>wandering in blind forest of chaos from ages</i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>send me messenger of love to make me feel you .</i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>or make me understand your signals as you are within me. </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>O Lord! you are imbibed in everybody in everything in whole. </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>But why I want to find you as my own? </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>Waiting to know you from you . </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>Touch me whole to relax my unstable soul ! </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i>my unstable soul! my unstable soul! </i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span></div>
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<span style="color: #8e7cc3; font-size: large;"><i><br /></i></span>
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com3tag:blogger.com,1999:blog-6183840755755458300.post-74629526024369059502013-01-14T02:20:00.000-08:002013-06-09T10:16:08.948-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white;"><span style="color: red;"><span style="font-size: x-large;"> </span><span style="font-size: x-large;"> The Expression </span></span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif; line-height: 115%;"><b> Some times ago Varun and his family were looking for
a girl for marriage; they went to a home of their so –called relative. Vasudha
brought tea for them in a tray, half tea was in the cup and half tea had fallen
in tray. Besides, visible corner of the tray were too dirty. When Varun’s mother and
sister went to meet Vasudha in the kitchen ,they saw Gas stove(a fireplace),
and kitchen both were not cleaned and wiped from several days, it was very maladroit.
Bright granules of sugar and scattered tea
granule with white drops of milk had been dispersed haphazardly telling the personal note of Vasudha who was standing in front of them with a continuous look at Varun's Sister. Normally, it is taught to girls how to stand before someone ,how to
look at any one and how to speak. Girls are not supposed to look continuously at anyone.Moreover,on the floor shoes and slippers were kept next to the uncovered serving plate and open cooked
food. Except this there were domestic Pests – Cockroach, lizards, ants all were existent in
kitchen without anyone’s fear. The bedroom too was without curtain, where clothes were
scattered in haphazard way. Precious silk coat and other costly garments were
bitten by mice . Broken threads of ill-treated clothes by mice were seen all
over the room. Dirty and without washed clothes were dumped in a corner of the
room. In the courtyard, dry clothes seemed to be frozen with wire; dust was lying
on the wire such as those were spread over several years. In addition with this
some pairs of shoes of Vasudha were lied chaotically. One shoe was lying
in the east corner of the courtyard and second shoe of the pair was lying in west
corner of the courtyard.<o:p></o:p></b></span></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;"><span style="line-height: 115%;"> However, Biodata of </span></span></b><b><span style="font-family: Georgia, Times New Roman, serif;"><span style="line-height: 18px;">Vasudha spoke</span></span></b><b><span style="font-family: Georgia, Times New Roman, serif;"><span style="line-height: 115%;"> her as a teacher of well-known, famous English medium school but from
the functioning of kitchen and disordered household things </span></span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px;">it was quite clear</span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 115%;"> that how her personality and the way of thinking was? She did not posses perfect way to prepare the food in a manner that keeps the
kitchen clean and can be called a “tea is made” as tea making includes preparation
of tea with the organized kitchen and serving skill with timely polite gesture,
humble facial expression and a good body language . In short, s</span><span style="font-family: Georgia, 'Times New Roman', serif;"><span style="line-height: 18px;">he expressed her personality by her behavior without uttering even a single word. </span></span></b></div>
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<b style="text-align: justify; text-indent: 0.5in;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0px;"><span style="background-color: white;"> Thus, execution of any work</span></span><span style="background-color: white;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0px;"> is the</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;"> </span><span id="hotword" name="hotword" style="cursor: default; font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;">manifestation</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;"> </span><span id="hotword" name="hotword" style="cursor: default; font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;">of</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;"> </span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;"> e</span><span id="hotword" name="hotword" style="cursor: default; font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;">motions,thoughts and</span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;"> </span><span id="hotword" name="hotword" style="cursor: default; font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;">feelings</span><span id="hotword" name="hotword" style="cursor: default; font-family: Georgia, 'Times New Roman', serif; text-indent: 0px;">. </span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0.5in;"><span style="line-height: 18px;">In education system, it is very important to teach attitude, outlook, facial expression and body language for execution of any daily work. It is only the manner of execution of getting any daily-work done which can be considered as the reflection of someone’s personality and thoughts. Also, this is the execution of work which tells how intelligent, educated, and polite the person is? It can be applied in case of women of particular standards. For instance, if the execution of work is compared with a well educated, learned woman and an uneducated woman, we find that both do the same work but there can be a major difference in performance of both of the women. An educated learned woman is probe to perform her work in best organized ways with positive attitude, facial expression and body language whereas unlearned woman performs every work in haphazard and avoiding ways. A woman is the first teacher of child, the </span><span style="line-height: 18px;">center</span><span style="line-height: 18px;"> of family who</span></span><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: 0.5in;"> </span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0.5in;">inculcates good values in family members and in others around </span></span></b><b style="text-align: justify; text-indent: 0.5in;"><span style="background-color: white;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0.5in;">by </span></span></b><b style="text-align: justify; text-indent: 0.5in;"><span style="background-color: white;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0.5in;">her </span></span></b><b style="text-align: justify; text-indent: 0.5in;"><span style="background-color: white;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px; text-indent: 0.5in;">every activity whether it is mute or expressed. Therefore, the execution of work in perfect way is most important thing in daily course of life.</span></span></b></div>
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com5tag:blogger.com,1999:blog-6183840755755458300.post-38642009380722159722012-11-23T07:11:00.001-08:002013-06-23T02:17:16.254-07:00<b><br /></b>
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<span style="background-color: white; line-height: 150%; text-indent: 0.5in;"><span style="color: red; font-size: x-large;"><b>Marriage in India: Hindu, Islam,Sikh ,Christian</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihqFW8voqhpBzic30uYrc816kheIMklH0pvHIbCszdEXv30kv1jD2JAdc0Hiwprf2d8AEKTcjymyok1VN7dZsD9pbZVODpG_Yi629h_IXVr2mXqoHQwQMxOf2vgrKMhcON0PBQThLYJmJi/s1600/nnn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><b><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihqFW8voqhpBzic30uYrc816kheIMklH0pvHIbCszdEXv30kv1jD2JAdc0Hiwprf2d8AEKTcjymyok1VN7dZsD9pbZVODpG_Yi629h_IXVr2mXqoHQwQMxOf2vgrKMhcON0PBQThLYJmJi/s1600/nnn.jpg" height="240" width="320" /></b></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Marriage in India is understood to be a
social union of two persons- a male and a female. It is a partnership and a
legal contract between two individuals to unite their lives legally, socially,
economically physically, mentally and emotionally to mutual consent and
reciprocal love to beget children to repay one's debt to the ancestors. Through
a marriage not only two individuals but two families also come into mutual
relationship. In India, Marriage is a religious duty than a social institution
where parent endeavors to inculcate in their children, the values of equality,
emotionalism and sensitivity. Parents help their children to find a suitable
partner according to their own desires keeping in mind the societal rules.
Therefore, in response to the parental love and care, children have minimum
chances of marrying outside their own religion, caste, social status or
economic class. A person after completing the student life enters
into the second stage of life, that is, the life of a householder. The
institution of marriage provides security, certainty, social identity to both
man and woman and protects the family. The basic unit of Indian society is
family with man as the head of the family and the woman as the Grihalaksmi (the
queen of the house).Indian traditional Marriage indeed makes life worth living.
It is said; true value of marriage is not measured, but treasured. For its
values, social- religious behavior and family culture India is acknowledged and
appreciated all around the world. In the moments of sorrow and happiness,
ancient scriptures, the prophet, the spiritualist, the philosophers have paved
the right path to go in right direction from historical age. Woman of India is
expected the most virtuous and the mythological figures. Hence, in India,
Marriage is considered as a compulsory and an obligation of society.It is
obvious that finding perfect partner is always a difficult task in India. In
particular, it is not easy in a multilingual and multicultural country like
India where there is disagreement even on food and clothing. To keep all these
issues in mind, arranged marriage system is given more importance in India.
Basically, when a marriage is arranged by people other than those getting
married, such as parents, match making agents, matrimonial sites or a trusted third
party on the basis of religion, cast, creed, natal chart, financial and
biological status, educational qualifications, social status, personal values
and experience, cultural backgrounds, astrological compatibility, marriage is
termed as arranged marriage. Arranged marriage is deeply rooted in Indian
spiritual and cultural ethos. In case of arranged marriages, there is less
possibility of break up, good interaction among all the family members helps in
preventing dissolution of marriage through divorce. That is why; arranged
marriages are a successful traditional aspect of family life in Indian
culture.Love marriages are always considered as anti traditional failure
mirages in India as these marriages are based on attraction not on love. When
two individual with consent of experienced person come closer and
possesses unique friendly behavior for each other to give and get not only
earthly love and care but platonic warmth also, the marriage becomes
successful.</span><span style="font-size: 10pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">According to Hindu traditional views, after
marriage a girl has to leave her father's house for husband's house,
following the family traditions and customs with the blessing of the elders of
the two families to start new life. In Hindu views of marriage husband-wife
takes care of each other and acts with a great depth of family ties. The adage
-‘marriages are made in heaven’ is true in Hindu context. The Hindu concept of
marriage is originated with God. God decided marriage as institution for man to
destroy loneliness and made a companion for him. Adam and eve’s story is
evidence to prove this fact in this context. Marriage, more than any other
samskara, completes two individual, they comes together and decide to marry as
their actions are intertwined. Woman is the life partner of man, unless a man
or a woman is married, both are considered incomplete. Culture of marriage is
to increase the people of God and mutual help for the partner’s in loyalty and
love. The idea behind the institution of marriage in Hinduism is to foster, not
self-interest, but love for the entire family, practice of self-restraint.
Husband and wife both is the two wheel of one cart. They together are the joint
owners of the household and divide their work in terms of their biological,
psychological and individual strength.Man and Woman represent the two halves of
the divine body without the question of superiority or inferiority between
them. Wife is ardhangini, one half of the her husband, sahadharmini, an
associate in the fulfillment of human and divine goals; sahakarmini, a part to
all her husband’s action and sahayogini, a veritable cooperator in all his
speculation. Hence, the question of woman’s superiority or inferiority to man
is irrelevant. According to the traditional view of marriage in Hindu psyche-
marriage is not limited to one life, it is bond of many births which extends
across seven or more lives, during which the couple help each other progress
spiritually as they are supposed to be soul mate, their relationship is of the
two souls. Two individual comes together and decide to marry as their actions
are intertwined. Both the bride and the bridegroom are bound to live till seven
births to work together for the welfare of the family and to help each other to
attain spiritual peace. In order to ensure mutual salvation husband and wife
both together fight the battle of life.</span><span style="font-size: 10pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">According to the religious view of
Islam, if a Hindu, Sikh, Jain, or Buddhist boy wants to get married with a
Muslim girl,it is obligatory that the one has to undergo very strict
requirements for marriage called as circumcision or baptism, a very
painful tradition. Moreover, the bridegroom is to be recognized by his changed Arabic
name, not by his cast's or original name. Religion conversion or Shahadat is
customary in Islam religion which changes the religious views and
marriage customs .Consequently, bridegroom follows Islamic Nikaah. Muslim
religion does not permit Idol-worship .Thus, bride and bridegroom can not
join Hindu wedding. As per Shahadah oath, there is no God but Allah
.Worshiping of Hindu God photos or Ganesh murti in new married life home is
prohibited, entrance in Hindu temple is also not permissible. As per Muslim
belief, Hindus pray to false gods . Children from this inter-cast
marriages are bound to have Arabic names after circumcision with following
Koran, not Geeta. A Muslim prefers to eat non -vegetarian, beef or halaal
or pork, following ritual of animal killing.Muslim religious view ask
favor to qurbani on Bakr-id. Therefore, Islamic law, to get convert back to any
other religion is punishable to death. If, by divorce there is back conversion
to Hinduism, children remain Muslims and child custody will not to be
given to Hindu. After death, dead body will be put in a grave and given Islamic
final rites not cremation pyre.</span><span style="font-size: 10pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Sikh marriage is not merely a
physical and legal contract but is a holy union between two souls where
physically they appear as two individual bodies but in fact are united as one.
The Sikh marriage ceremony is also known as Anand Karaj (blissful union).It
consists of the couple revolving around Siri Guru Granth Sahib four times as
the Lavan (Marriage hymns) is recited. Revolving is the sign of making
commitment with the Guru as a witness. In addition, revolving signifies that
Guru is the center of the couple’s life and springs life and the understanding
of the journey of the soul crossing this world to be one with God. In the marriage
ceremony, Siri Guru Granth Sahib represents the core while the congregation
(Sadh Sangat) represents the support. According to Sikhism, When a girl becomes
marriageable, physically, emotionally and by virtue of maturity of character, a
suitable Sikh match should be found and she be married to him by Anand marriage
rites. It is neither desirable nor proper to marry a girl at tender age. The
daughter of a Sikh should be given in marriage to a Sikh. If a man is a
believer in Sikhism, is humble by nature, and earns his bread by honest means,
with him matrimony may be contracted without a question and without
consideration for wealth and riches. Sikh marriages are usually arranged. The
people from other cultures do not always properly interpret the word ‘arranged’.
An arranged marriage does not mean forcing man or woman into wedlock of
parents' choice only. It is agreeing to marriage proposed by mutual discussion
between the man and the woman on one side and his and her parents and relatives
on the other. This is in fact selecting the right partner with the approval of
all. Most importantly the man and woman themselves must get to know each other
to convey their consent to their parents. The Sikh marriage is monogamous. In
the case of broken marriage, divorce is not possible according to the Sikh
religious tradition. The couple can, however, obtain a divorce under the Civil
law of the land. Marriage, in Sikhism, is regarded as a sacred bond in
attaining worldly and spiritual joy. About the ideal marriage, the Guru says:
"They are not husband and wife who only have physical contact; rather they
are wife and husband who have one spirit in two bodies." The fourth Guru,
Guru Ramdas Ji, originally composed Lavan, the wedding song, to celebrate a
holy union between the human soul (Atma) and God (Parmatma). The Guru wishes
that our married life should also be molded on the ideal laid down for our
union with the Parmatma. The bride and bridegroom then share their life,
happiness and sorrow; from two individuals they become 'Ek Jot Doe Murti'
meaning one spirit in two bodies. </span><span style="font-size: 10pt; line-height: 115%;"> </span><span style="font-size: 10pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Choosing A Marriage Partner---Except for
the decision to trust Christ as Savior, it’s been said that there is no more
significant decision anyone will make than the decision of who to marry. The man
gives the woman a ring, but often there is a mutual exchange of rings. The
Church celebration and requirements vary with each particular faith. In the
Sacrament of Marriage, both members of the couple have been baptized. In the
Catholic and Jewish faiths, the couple marry each other through an
exchange of solemn vows and ring(s), with the priest or rabbi serving only as a
witness</span><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">.</span><span style="font-size: 10.0pt; line-height: 115%; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">However, Christian is
allowed to marry with anyone. The true Essenes- Christians considers woman
equal as men and woman have half authority as men. . According to Christian
views.Some Christian authorities and bodies believe that the New Testament
regards marriage as instituted and ordained by God for the lifelong
relationship between one man as husband and one woman as wife. Christian
theology affirms the secular status of civil marriage, but additionally views
it from a moral and religious perspective that transcends all social interests.
While marriage is honored among Christians and throughout the Bible, it is not
seen as necessary for everyone. Single people who either have chosen to remain
unmarried (Celibacy) or who have lost their spouse for some reason are neither
incomplete in Christ nor personal failures. Divorce or dissolution of marriage
is generally seen from a Christian perspective as less than the ideal, with
specific opinions ranging from it being perceived as universally wrong to the
notion that it is sometimes inevitable. Some Christians believe that husbands
and wives have differing, complementary roles. Complementary generally
believe that the husband and wife are of equal worth before God, since both are
created in God's image, but that husbands and wives have different functions
and responsibilities that are based on gender with the husband always being the
senior authority figure. According to this view, the husband has the God-given
responsibility to provide for, protect, and lead "his" family.
"A wife is to submit herself graciously to the servant leadership of her
husband.It is also seen as the best (many Christians would say the only)
setting for sex. In any marriage ceremony the bride and groom must
confirm that they want to marry each other, and after the opportunity has been
given publicly for anyone present to prevent the marriage if there is a legal reason,
the couple join hands and make promises. They exchange rings, which are
worn as a reminder of these promises for the duration of their married life. If
the marriage begins with a wedding service in a Christian church, the minister
conducting the wedding reminds all present that marriage forms part of a
pattern of life established by God. The first marriage that the Bible
tells of is between Adam and his wife, Eve. God declared, ‘It is not good
for the man to be alone. I will make a helper suitable for him.’ In a
church service there are readings from the Bible which explain the nature and
significance of marriage. The couple make promises to stay together ‘for
better, for worse; for richer, for poorer; in sickness and in health; to love
and to cherish until death us do part’. It is a commitment for life, and
not just for the times which are easy. Prayers are said for the
newlyweds, which recognize both the joys and difficulties ahead, and ask God’s
blessing on the couple. While marriage is honored and affirmed among
Christians, there is no suggestion that it is necessary for everyone.
Singleness, with its freedom and flexibility, is described as ‘a gift’ in the
Bible. And Jesus, the founder of the Christian faith, was himself unmarried. Some
Christians believe that marriage vows are unbreakable, so that even in the
distressing circumstances in which a couple separates, they are still married
from God’s point of view. This is so in the Roman Catholic Church,
although occasionally a marriage is declared to be null (in other words, it
never really was a marriage). Other Christians have accepted divorce and
remarriage in some circumstances - for example, to relieve one partner of
intolerable hardship, unfaithfulness or desertion. There is rarely divorce
without pain. Even when divorce comes as a relief, it follows the pain of
broken relationships and dreams, and great anxiety about the impact on
children. Christians seek to uphold the seriousness of wedding vows while
responding with compassion to deep hurts by recognizing that divorce is
sometimes necessary. God grieves alongside the people for whom such a
painful separation is taking place. Everyone who enters marriage does so with a
set of expectations, and those expectations can be the source of
disillusionment if our marriage does not live up to them. One way to avoid that
disillusionment is to make sure that our expectations match what marriage
really promises. Love marriage is a union of two individuals based
upon mutual love, affection, commitment and attraction. While the term has
little discrete meaning in the Western world, where most marriages are
considered to be 'based in love,' the term has meaning elsewhere to indicate a
concept of marriage which differs from the norms of arranged marriage and
forced marriage. When a man and a woman get married they commit themselves to
spending their lives in a new relationship. It is a partnership of love,
made richer and deeper through sex. Like many people, Christians regard
it as the best context for nurturing children.</span><span style="font-size: 10pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
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Dr BHAVANA SHRIVASTAVAhttp://www.blogger.com/profile/09522646583259292781noreply@blogger.com6