There are even sure features of African American culture that were brought into being or made more conspicuous as an aftereffect of slavery; a sample of this is the way drumming got to be utilized as a method for correspondence and setting up a community character amid that time. The outcome is a dynamic, inventive culture that has had and keeps on having a significant effect on standard American culture and on world culture too. After Emancipation, these extraordinarily African American traditions kept on growing. They formed into particular traditions in music, workmanship, writing, religion, nourishment, occasions, amongst others. While for quite a while sociologists accepted that African Americans had lost most cultural ties with Africa, there is a continuum of African traditions among Africans in the New World from the West Indies to the United States.
Divakaruni explores these opposing arguments using clothing as a metaphoric representation of both Sumita’s captivity, as well as her liberation. From the start, Divakaruni uses clothing as physical manifestation of Sumita’s state of mind, “The water of the women’s lake laps against my breasts, cool, calming. I can feel it beginning to wash the hot nervousness away from my body. The little waves tickle my armpits, make my sari float up around me, wet and yellow, like a sunflower after rain.” (Divakaruni, 1). The mention of Sumita’s sari shows the reader that she has not yet been changed by the life she will soon be thrown into.
A short while after trading commenced, Indians began using theses new goods progressively in their day-to-day lives. It became a problem and affected native tradition when the American Indians began to rely on European goods for their daily needs. Even in today’s society, the American Indians are still being affected by choices made by the Europeans. At one point in time, the American Indians had a very large population, but today they only account for about one and a half of the United States population. To end on a brighter note, many American Indians continue to take pride in their ancestral traditions, practicing the music, art, and ceremonies that took place centuries
Thus the special focus of the novel is on the detailed descriptions of the luscious and tempting food enjoyed by the nawabs of Bengal. Patricia D. Lothrop states in this regard: Divakaruni’s novel offers the flavors, sounds, sights, and stories of past and present Bengal. The description of a jinn is masterly, and the values (don’t run away; think for yourself; don’t expect to be good at everything; use kindness and humility, not force) are solid, but unexceptionable. The apprentices at the Brotherhood are served lavish and elaborate Bengali delicacies made fromthe vegetables and fruits grown at their own farm. Divakaruni gives an elaborate account of abundant, exuberant and sumptuous meals served: .
Due to her affinity for women, in almost all her work she has endowed major chunk of her novels to female characters. Divakaruni’s forte in writing enables her to present both past and present life of the characters perfectly. This immigrant experience was crucial for her in becoming a writer, she observed. “I did not think I had a story to tell,” she wrote on her blog. “Moving to a very different culture and learning to live on my own made me see the world much more clearly… I thought about India more than I had ever before.
The United States of America has been dubbed the land of opportunity and freedom; and over the course of history immigrants have fled to escape prejudice and oppression. America has become a melting pot of cultures, where opinions and beliefs that intermingle with each other lead to conflict and pride. Average Americans have an innate personality that sets them apart from the rest of the world, that the country created today has become an entire world in itself. To be an American is to have a great sense of patriotism, to value ones individualism, and to be materialistic. Patriotism is a trait that all Americans express.
This fascination is often held mainly around just women characters who are just written as real women. Martin stated that the reason he writes women the way he does is embedded in the easy fact that he has “always seen women as people.” A simple response that has come along with such success in writing more well written characters. The more realistically women are written, the more characters there are for readers to relate to. However, this rule does not seem to apply to the most successful writer in English history: William Shakespeare. Shakespeare rarely wrote strong or interesting women, and due to the sexist mentality of his era, he could easily get away with this.
This fascination is often held mainly around just women characters who are just written as real women. Martin stated that the reason he writes women the way he does is embedded in the easy fact that he has “always seen women as people.” A simple response that has come along with such success in writing more well written
Chitra Banerjee Divakaruni is one of the skillful and passionate voices of the diasporic writers. In most of her novels Psychology, Mythology and Folklore are interrelated which reflect her rootedness to the culture and traditions of her native land. Her characters are simple next door women who balance familyand through them she is able to explore the issues that are women centric like identity, fidelity, independence and tradition. She entwines diaspora and feminist experiences that are narrow in focus and broad in scope. In an interview, she states: “I think being an expatriate is good for writers.
It is their hidden story that I try to tell in many of the tales in my short story collection, Arranged Marriage. It is their courage and humanity that celebrate an honour (Shelvam, 2004: 65). Divakaruni declares her reason for writing about women in San Francisco Examiner article: In South Asian mythological stories, ‘…the main relationships the heroines had were with the opposite sex: husbands, sons, lovers or opponents. They never had any important friends. Perhaps in rebellion against such thinking, I find myself focusing my writing on friendships with women, and trying to balance them with the conflicting passions and demands that come to us as daughters and wives, lovers and mothers.’ (Feb, 1999) Divakaruni’s mode of writing, therefore, becomes a mode of feminist