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Recommended: Cultural identity
Geeta Kothari’s “If You Are What You Eat, Then What Am I?” shares a personal story of a young woman’s efforts to find her identity as she grows up in a culture different than her parents. Kothari retells memories from her childhood in India, as well as her experiences as an American student. Kothari uses food as a representation of culture, and she struggles to appreciate her parent’s culture, often wishing that she was like the American children. Kothari’s tone changes as she comes to realize the importance of maintaining connections to her Indian culture. Originally published in a Kenyon College magazine, Kothari’s main audience was originally student based, and she aimed to give her young readers a new perspective to diversity. Through the …show more content…
Kothari employs a mixture of narrative and description in her work to garner the reader’s emotional investment. The essay is presented in seventeen vignettes of differing lengths, a unique presentation that makes the reader feel like they are reading directly from Kothari’s journal. The writer places emphasis on both her description of food and resulting reaction as she describes her experiences visiting India with her parents: “Someone hands me a plate of aloo tikki, fried potato patties filled with mashed channa dal and served with a sweet and a sour chutney. The channa, mixed with hot chilies and spices, burns my tongue and throat” (Kothari). She also uses precise descriptions of herself: “I have inherited brown eyes, black hair, a long nose with a crooked bridge, and soft teeth …show more content…
She compares India to “a silk cocoon frozen in time where we are sheltered by family and friends” (Kothari). The metaphor gives the reader a descriptive image of a haven that Kothari’s parents experience when visiting their homeland. She describes the cocoon to represent something safe and familiar (Kothari). Kothari also uses symbolism to describe American students. When she speaks of the “tuna eaters,” she is representing the American children, creating a separation between herself as a non-tuna eater (Kothari). Kothari goes on further to show her differences from the American students by ironically stating: “The tuna smells fishy” (Kothari). She makes it clear that tuna is a foreign food for her, though it is the representative food of the American students (Kothari). Kothari employs rhetorical devices and strengthen the depiction of her struggles with her identity by using different symbolic and figurative techniques. For readers to understand Kothari’s purpose through these devices, her main points are effectively strengthened since there is a level of analysis added to her piece that forces reader to think
In the writing “If You Are What You Eat, Then What Am I?” Geeta Kothari describes the differences in the American and Indian cultures through her unique description of the food differences. As a little Indian-American girl, Kothari curiously wanted to eat what of kids her age ate, tuna salad sandwich, hot dogs, and foods of such nature. Kothari describes her first encounter with a can of tuna fish as it looks “pink and shiny, like an internal organ” (947). As Kothari ages, it becomes clear that she sees American food much the way her parents saw it- “repugnant… meat byproducts… glued together by chemicals and fat” (947). Even though Kothari describes American food as strange, disgusting, and foreign; it was also “infidelity” to eat it (951).
In the literary work If You Eat, You Never Die, the author, Tony Romano, intertwines several short stories into a unified family history that is simply captivating. The collection of stories is centered around an Italian-American family, who are growing up in Chicago during the 1950′s. Romano takes the time to develop the characters through the experiences and interactions with one another. The writing style is very informal and captures the characters individuality very well. Furthermore, to make this series of stories even more interesting and practical, Mr. Romano undoubtedly draws from his own experiences as an Italian to formulate the wonderful fictional Italian family that is featured in If You Eat, You Never Die.
Lahiri, a second-generation immigrant, endures the difficulty of living in the middle of her hyphenated label “Indian-American”, whereas she will never fully feel Indian nor fully American, her identity is the combination of her attributes, everything in between.
When Sripathi and his family receive the news of Maya’s and her husband’s fatal road accident, they experience a dramatic up heaval. For Sripathi, this event functioned as the distressed that inaugurated his cultural and personal process of transformation and was played out on different levels. First, his daughter’s death required him to travel to Canada to arrange for his granddaughter’s reverse journey to India, a move that marked her as doubly diasporic sensibility. Sripathi called his “foreign trip” to Vancouver turned out to be an experience of deep psychic and cultural dislocation, for it completely “unmoors him from the earth after fifty-seven years of being tied to it” (140). Sripathi’s own emerging diasporic sensibility condition. Not only must he faced his own fear of a world that is no longer knowable to him, but, more importantly, he must face his granddaughter. Nandana has been literally silenced by the pain of her parent’s death, and her relocation from Canada to Tamil Nadu initially irritated her psychological condition. To Sripathi, however, Nandana’s presence actsed as a constant reminder of his regret of not having “known his daughter’s inner life” (147) as well as her life in Canada. He now recognizeed that in the past he denied his daughter his love in order to support his
The identity crisis that is spoken of in “If You Are What You Eat, What Am I?” concerns the changes from an Indian diet to an American diet and the way it makes her feel. For her food ended up being one of the most important parts of her own personal identity and was the source of distress for her as a child. As a child she wants to fit in with her friends at school by eating American foods and she has concerns as to whether she is really her parent’s daughter or not.
Food has been used as a tool by many cultures as movements to help with their culture become recognized, to identify their way of being, and to show their class and status. By exploring different author’s articles, and movie clips this will be visible. Food has created many cultures to explore these outlets and in return has had a positive impact on their culture.
The author of the story was born in 1967 in London, and soon after she moved to Rhode Island in the United States. Although Lahiri was born in England and raised in the United States and her parent’s still carried an Indian cultural background and held their believes, as her father and mother were a librarian and teacher. Author’s Indian heritage is a strong basis of her stories, stories where she questions the identity and the plot of the different cultural displaced. Lahiri always interactive with her parents in Bengali every time which shows she respected her parents and culture. As the author was growing up she never felt that she was a full American, as her parents deep ties with India as they often visited the country. Most of Lahiri’s work focused on the Indian American culture and the story “Interpreter in Maladies” is a set of India and part of United States.
Good Morning, today I will be presenting on interpreter of Maladies by Jumpa Lahiri and the topic of my presentation is the use of food as a metaphor in Lahiri’s stories. I will be dividing my presentation into two parts, the first part will address the use of food to establish love and the second part will talk about the use of food to establish family. To explain these I will be looking at four stories from the text. The stories are: A Temporary Matter, Interpreter of Maladies, Blessed House and The Third and the Final Continent.
The way she describes the American food is with such disgust and almost a loathing for it. It makes the reader think twice about it. Through her very gross description of American food and her natural reaction to it, Kothari has adapted her mother’s view of it, “repugnant… pork and meat byproducts, crushed bone and hair glued together by chemicals and fat” (947). Whether intentional or not she only uses negative imagery to describe the American side of her story. She also points out the vast differences in her and her American husband's looks and tastes. On page 950 Kothari finds the untouchable American meats in her soon-to-be -husband’s freezer as she continues to describe the way he smells and looks foreign and different; how she wants to turn away in a discussed smell when she smells these meats on him, not wanting to kiss him. Eventually, an authentic Indian restaurant moves to her neighborhood, and they are soon driven out by the Americanized Indian type restaurants. Kothari observed her friends as unsure of the true Indian foods, as they did not understand
Mr. and Mrs. Das enjoy all things Indian. The couple is as if drinking its fill of Indian experience. Just as the Suntemple at Konarak becomes a must see, they also enjoy jhalmuri that is typical of Bengal and its adjacent states. Mrs. Das is quite a foreigner in her dress and taste, the lady does not forget to carry her water bottle lest she catches infection due to consumption of contaminated water. But she cannot resist enjoying the jhalmuri: 'She walked slowly, carrying some puffed rice tossed with peanuts and chilli peppers in a large packet made from newspapers.' (Lahiri 46) The family also enjoys a hearty breakfast at a road side restaurant (Dhaba). If on one hand they sip bottled mango juice with sandwiches they also enjoy the typical Indian pakora throwing all apprehensions of infection to the wind. However, the author once again does not use the Indian word for the same, instead she prefers to define it as 'onions and potatoes deep fried in graham-flour batter.' (Lahiri
Only a boat remains, an eye painted on it. The novelist says that this eye can weep. Hence, even after the cathartic disaster, “maya remained”. Partha Chatterjee, referring to this novel, argues that our colonial modernity embodies this maya, this obstinate infatuation with our pre-modern pasts which embodied both the loathsome and the beautiful. Like the storm suffered by Walter Benjamin’s Angel of History, the flood faced by the chandal in Antarjali Jatra is an apocalyptic vision of the advent of modernity, a violent rupture that is necessary yet painful. On the other hand, the map of the “sacredsecular” modernity that Madhu Khanna, Brother William and Mani seek to draw begins from little things - a dewdrop or a flower - and is grounded in an ecology of love that is captured in this remark of Irigaray: “Love is not an explosion or implosion but an
The ambrosial aroma of cured ham mingled with the provocatively piquant scent of jerked chicken and conspired to undo my resolve. Enveloping my aunt’s kitchen with a hunger-inducing miasma that only I was immune to, dishes from Jamaica and America vied for my attention. I attempted to appease the cultures of both nations, settling with a plate of rice and peas, corn bread, and macaroni and cheese. Much to the surprise of my family, however, that was all that I ate. As usual, my family had no difficulty expressing their disappointment with me. The sideways looks coupled with muffled whispers branding me as a “rasta”(the cultural equivalent of a hippie) soon convicted me to a life of familiar banishment. It was not until this first thanksgiving of my high school career that the weight of my decision to adopt a life of vegetarianism dawned on me.
Chitra Banerjee’s The Mistress of Spices is a diasporic tale built amidst a stream of voices, both male & female, sharing their joys and sorrows as immigrants to the United States. The author interweaves her text with strands of Magical Realism, Postcolonial Criticism and Feminine discourse to produce a patchwork of messages that overlap but never contradict.
The quest for identity in Indo-English writing has emerged as a recurrent theme, as it is in much of modern literature (Pathak preface). Indeed, often the individual's identity and his quest for it becomes so bound up in the national quest for identity, that the individual's search for his identity becomes allegorical of the national search (Pathak pr...
As an immigrant, Chitra Banerjee seems to take pride in being more of a Westerner and less of an Indian. Her all works portray the complexities faced by immigrants. She has exceeded boundaries, conveying two different worlds from various viewpoints. In an interview with Morton Marcus, She explained briefly about her writings and