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Isolation essay introduction
Isolation essay introduction
Isolation essay introduction
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Coping with Death is Beneficial For some, coping with death is the end of a journey, but to others, it is the beginning of change. The novel, The Hero's Walk, explores the meaning of this statement through the death of Maya. Because of her death, the people who are close to her, such as her father, Sripathi, begin to suffer. However, he eventually experiences a positive change after coping with her death. In Anita Rau Badami's novel, The Hero's Walk, Maya's death is a major turning point which affects the life of Sripathi; ultimately, this loss contributes to his major character development. Through coping with the death of Maya, Sripathi is traditionally stubborn, but through coping with his daughter's death, feels the regret that comes with …show more content…
Sripathi’s intolerance of spending money on anything but himself leads to the disgust of his wife. During the planning of Maya’s engagement, he worries about “how much that [would] cost” (102) and even calls his wife a “foolish woman” (102). This is significant because it shows that Sripathi cannot bear the thought of splurging on his daughter’s engagement. This shows that he does not care about pleasing other people who are invited to ceremony; rather, he cares about his own financial future. Through the exchange between him and his wife, Sripathi is portrayed as a selfish person who only cares about his own opinions. He even belittles his wife for not accepting his opinion as the best idea. However, after Maya’s death, Sripathi copes by becoming more empathetic. He recalls what he has done to Maya and wonders how he will be able to face his grandchild with the knowledge that he is responsible for her mother’s death (245). This is significant because Sripathi begins to reflect and consider how others feel. Through this personal thought, this reveals how much his character has changed since the death of Maya. He now understands that he will not be able to face his grandchild because of how disowning Maya contributed to her death. Sripathi now tries to atone for what he has done to Maya by attempting to get closer to Nandana. This helps him to …show more content…
When he hears about the death of Maya, he prioritizes self-control above everything else. The only thing that occupies his mind is “control” (40) which leads him to believe that “control is everything” (173). When Nandana disappears, “again he ha[s] to control a desire to weep” (302). This is significant because it illustrates Sripathi's arrogance, as he believes that he can fully suppress his emotions without any consequences. Due to this, he focusses on self control to maintain his pride and honour which will be lost from shedding a tear. Without this arrogance, he will not be able to stay under the illusion that he is in “control”. However, it is revealed that his emotions are at their limit as “he [is] crying in front of every person who gives him a kind look” (302). After an entire night of searching for Nandana, Sripathi can no longer sustain that self-control. Sripathi allows himself to revisit an old memory of carrying his children home through a flood. On this journey, Maya wants to know whether or not Sripathi will always be there for her (306-307). This is important because Sripathi allows himself to reminisce about the past which breaks down his emotional barrier. This shows that coping with loss can lead to drastic change as Sripathi is able to overcome his arrogance through the realization that he cannot suppress his
Selvadurai uses an allusion to demonstrate his grandmother’s role as a negative mentor in Shivan’s life. His dream of seeing his grandmother “incarnated as the demoness Kali” running after him (in the body of his mother) is very telling of what Shivan subconsciously thinks of his grandmother. (Selvadurai 371) The demoness Kali is the Hindu goddess of destruction. Though she is seen as a god, her physical appearance is quite appalling. Her dark skin, red eyes, fangs and necklace made of human heads are all quite terrifying. When portrayed, she is often seen standing on top of the Hindu god Shiva as well. Kali’s frightful appearance, paired with her relationship with the god Shiva is very telling of Shivan’s relationship with his aachi. He fears her with every fibre of his being. In said dream, he imagines himself as his mother, carrying a child, running from his grandmother, but proving to be unfruitful when Kali, “snatches the infant from [his] arms and opens her mouth wide to consume him”. (Selvadurai 371) This baby is Shivan, and Kali eating the baby shows how as a mentor, she has taken away all the innocence from Shivan and taken him away from his mother. Shivan’s ammi shows how even negative mentors can push their mentees into
In one of his final meetings with Kamala, he reflects on what he has experienced of love: “the art of love in which, more than anything else, giving and taking become one” (71). Siddhartha discovers that loving is a balance of giving and taking; that, in true love, they “become one”. This discovery is just one of many that build toward Siddhartha’s gained wisdom. Once he reaches the extent of the version of himself that he becomes in the village he once again decides to
Roy asserts that people’s fears of upsetting the power balance based in the caste system often leads to a blind acceptance of the status quo and a continuous sense of self-deprecation by individuals at the bottom of the hierarchy. When Velutha’s father fears that his son’s affair with a Touchable will have potentially disastrous consequences for him, he serves his own self-interest and is willing to endanger is son. He exposes the affair to the grandmother of the woman his son is having an affair with, revealing the extreme degree to which caste and conforming to societal norms drive the behaviors of individuals in Indian society; “So Vellya Paapen had come to tell Mamamachi himself. As a Paravan and a man with mortgaged body parts he considered it his duty…they had made the unthinkable thinkable and the impossible really happen…Offering to kill his son. To tear him limb from limb” (242). His fear of disrupting the status quo (i.e. the Indian social hierarchy) is so great that he is willing to sacrifice his own son’s life to protect his own. Rather than considering the genuine...
The terrifying words of the prediction, like the drumbeats of the mad demon of kathakali ballets, ring in her ears and unnerve her. She knows that she is haunted by “a black and evil shadow”-her fate, and the time has come: “And four years it was now, we had been married four years..i know the time had come. It was now to be either Gautam or
In Jhumpa Lahiri’s “Interpreter of Maladies” we go on a journey with the Das family, and their tour guide Mr. Kapasi; who brings the family on a tour of India’s temples and holy shrines. Early on we learn of the growing infatuation Mr. Kapasi has towards the young Mrs. Das. On several occasions, he fantasizes of how his relationship with her; would grow from simple friends to passionate lovers. Trying to extend his time with her, he desperately hopes the family will agree and be willing to see one of his favorite places. Lahiri goes on to show Mr. Kapasi’s desperation, through his sheer panic of not being able to see or hear from Mrs. Das, so much so he goes on a frantic internal dilemma. Lahiri goes on to say,
...ing care of Shankar and feels good doing so. He is constantly sacrificing his money and time by helping others This empathy helps him change his life journey by helping him meet new people. Even though helping people delays his own success he does ultimately achieve his dreams.
Leenerts, Cynthia. "'How Can We Be Like We Used to Be?': The Collective Sita and the Collective Draupadi in Raja Rao's Kanthapuraand Jyotirmoyee Devi's The River Churning." South Asian Review 24.2 (2003): 84-105. Rpt. in Contemporary Literary Criticism. Vol. 255. Detroit: Gale, 2008. Literature Resource Center. Web. 21 Apr. 2014.
In the first session, Sunil sat on the couch with crossed arms at the opposite end from where Julia was seated. Additionally, Sunil chooses not to speak in Julia’s presence, rather he chooses to speak in Hindi while his son translated to English. Furthermore, Julia displayed insensitivity to Sunil’s loss by saying that it has been five months and feels it is time for Sunil to move on. This can be further straining their relationship by quantifying Sunils process of grief for his wife. Later, when Julia leaves the room, Sunil tells the worker that he does not understand the need of quantifying the years or months of the grief over his wife. In the second session, the worker reassures Sunil that he has no desire in speeding up the grieving process. Sunil says he does not trust
It is a literary genre that focuses on the psychological and moral growth of the protagonist. Growing up as a boy from the Parayar caste, in the milieu of Christian, Hindu and Muslim communities, K.A. Gunasekaran narrates the familiar tale of caste oppression and prejudice prevalent in the villages of Tamil Nadu. As the narrative unfolds, the reader is shown how the ‘low’ caste negotiates differently with the three religious communities. The deep pain of the Paraya surfaces through the risible anecdotes that ridicule the grievously unjust practices of the ‘upper’ castes. The book emphasizes the fact that Indian villages are doubly caste-conscious and cruel, and that Dalit emancipation rests in better education for the community. Gunasekaran writes in an earthy and colloquial style to capture the innocence, cruelty and drama of a South Indian
Pubertal rituals are viewed as a private affair and widowhood ceremonies are gradually stopped. The individual desires, feelings and wishes of the protagonists Mythili and Padmini are given some priority. However, conflicts of values are shown between the older and younger generations. Anandam’s ideals are objected by her granddaughter Mythili, and Mangalam’s by Padmini. Anandam and Mangalam criticise their daughters-in-law and granddaughters. Sivasankari has traced the rebellion and retaliation of adolescent girls Mythili and Padmini which is the prime reason for the gradual changes in the life of women. The desires and ambitions of Padmini are cherished by Padmini’s parents Venkat and Mythili which is a remarkable change in the Indian
According to Jonathan Culler, “the fundamental identity of characters emerges as the result of actions, of struggles with the world, but then this identity is posited as the basis, even the cause of those actions” (111). The same cause is mirrored in the works of Meena Kandasamy (b. 1984) who belongs to that category which has the past tendency to get subjugated and suppressed the most – Dalit and Female. Kandasamy regards her writing as a process of coming to terms with her identity: her “womanness, Tamilness and low/outcasteness” that she wears with pride (Sarangi, par. 1). Gayatri Chakravorty Spivak suggests, “I construct my definition as a woman not in terms of a woman’s putative essence but in terms of words currently in use. ‘Man’ is such a word in common usage. Not a word, but the word” (Lodge and Wood 495). And one can note surprisingly that Meena Kandasamy changed her given, official and a very poetic Tamil name, Ilavenil to her pet name Meena. The titles of her both volumes imply perception of social deprivation that accumulates in history as cycles of violence and coils of collective guilt.
Yes, the Indian women in this era are born at a time when there is much consciousness about her rights, liberty to convey her ideas, freedom to enjoy finance and the chance to stand for a cause. Still the silence continues, the protagonist Jaya is an educated middle class woman who lives with her husband Mohan and their children Rahul and Rati. She is stereotype Indian middle class woman in the present century who is confined between her realizations and the restrictions. Her father brought up as an “individual”, who has the rights in the society as well as in the family irrespective of gender, but a society in which we live hesitates to accept the woman as an individual. Jaya, a father supported child,confident and ambitious girl, tries to find the true meaning and identity, in various roles assigned to her by familial and social codes. She starts her journey with her father’s favorite name Jaya and passes through different phases of daily life with other identifications as Suhasini and Seeta. She finds her role and life fit, only in Jaya, “Jaya, the winner as papa wanted to make her”. Her papa has made her different, indifferent to social taboos and familial rituals, as he often said
Its narrative realizes the female protagonist’s method of living to reconcile with her family, to be aware of the filial relationship and the marital circumstances. The novel is covered with a variety of narratives of Devi, of her mother Sita, her grand mother and of the house maid, Mayamma. This novel is a trial to disclose the inner lives of woman and the inner aspects are concentrated on with complete picture. This novel is written in a woman’s voice. This very novel makes an attempt to overcome an unsolved situation faced by the suppressed and oppressed womenfolk mainly in
Death is something that causes fear in many peoples lives. People will typically try to avoid the conversation of death at all cost. The word itself tends to freak people out. The thought of death is far beyond any living person’s grasp. When people that are living think about the concept of death, their minds go to many different places. Death is a thing that causes pain in peoples lives, but can also be a blessing.
Anchita Ghatak, writes, ‘A Life Long Ago chronicles, through family memories, the changes affecting post colonial South Asia…It also raises some important questions about class, caste, community, religion and gender that continue to trouble us in contemporary times” (vii-ix). In very cryptic and short chapters the writer unveils storehouse of humanity deep within her own heart. Simplicity of narration is her best ornament to reach the largest part of humanity and farthest core of the reader’s mind reviving their ethical sense. Humanism stands for two basic values: first and foremost, love of fellow beings and solidarity of mankind without distinction of race, caste, creed or nationality and second intellectual integrity and scientific spirit according to which all beliefs however firmly held, are liable to modification or rejection in the light of further knowledge and experience. In chapter one, the narrator, a little girl of ten years of a Hindu family describes her kinship with Majam Dada who proves what true humanism is and how love of fellow beings can win over all barriers of caste, class or even distance. The first chapter opens with the news of Dada’s death, “For fifty years, I had been oblivious to the frozen tears inside. And those tears were now streaming down my face”(1; ch. 1) Such was the bond of humanity among the writer and Majam dada that the narrator at her very tender age could easily make out that her foster mother who was