They hate their mothers to the point of matrophobia where they experience a dread that if they relax their guard, they may identify with the mother completely. The mother stands for the victim in themselves, the unfree woman, the martyr, and so the daughters do not want to be vessels of their mother’s annoyance and selflessness. Manju Kapur’s Difficult Daughters traces the story of three generations of daughters. Virmati has to fight throughout against patriarchal oppression and against the engulfing power of her mother who is equally oppressive. This love-hate relationship creates a rift between the mother and the daughter and forces Virmati to tread the path of rebellion.
The authors notion towards Mira symbolizes the fact that Mira ignores anything that calls her away from her ethnic identity. Mira intentionally does not connect to her new country as Bharati does, instead she feels “some kind of irrational attachment to India that [she does not] to America,” (Mukherjee 282). Despite an immigrant’s upbringing, each individual must choose to whether to participate in American culture and customs or to continue to abide to their previous country’s norms. Founded upon a multitude of cultures and countries, America has always embraced and even encouraged diversity in individuals. Established on the principles of freedom, diversity, and democracy, the United States of America provides the opportunity for each of the sisters to live the life they
Traumatized, she wanted to protect her daughter from the severe mental pain of forbidden love and did so by stopping Pedro from ever becoming an influential figure in Tita’s life. Mama Elena loves all of her children dearly, although she struggles with expressing this love vocally. She never meant to abuse Tita, nor did she ever intentionally try to harm her in any way. She believed that she was doing the right thing, that she was disciplining her child. She only punished Tita out of good intentions, not because she wanted to inflict permanent physical and emotional damage on the young woman.
The author conveys her ideals that traditional/conservative Indian women who challenge the change of their village will keep order within the chaos developing throughout their social environment, precluding Rukmani from falling under the category of the stereotypical passive peasant woman. Rukmani 's improvement at the criticism of her community and the development her own views and beliefs on the future of India is advanced through her conversations with Kenny, the doctor that she begins to develop a relationship with. In Rukmani 's character and newfound sense of action, you can establish relations to ecofeminist theory, a form of feminist criticism, about the relationship between rural women in India and the
Her autobiography I, Phoolan Devi: The Autobiography of India’s Bandit Queen is a heart-rendering story of her life. She has to live her life in utter poverty. They were only two living sisters and she had no brothers. That’s why her uncle usurps their property. He makes a big house and he wants that Phoolan Devi and her family may remain poor.
Post World War 2, the rise of capitalism and growing feminist movements for greater equity for women, resulted in greater participation and representation of women in the public sphere, accompanied by shifting of labor oriented industrial set up towards a more service oriented edifice(Messner 201). This resulted in more commercial visibility for film stars, sports stars and political leaders. While India had a taste of national icons in the field of politics and cinema such as Indira Gandhi, the field of sport, with its obvious disregard for traditional feminity, inherent in its form and content, had not seen an acknowledged woman icon. It is only during the last decade of the 20th century, Indian socio-economic edifice realizing the potential and requirement of women sports icons, decided to cheer its
Traumatized, she wanted to protect her daughter from the severe mental pain of forbidden love and did so by stopping Pedro from ever becoming an influential figure in Tita’s life. Mama Elena loves all of her children dearly, although she struggles with expressing this love vocally. She never meant to abuse Tita, nor did she ever intentionally try to harm her in any way. She believed that she was doing the right thing, that she was disciplining her child. She only punished Tita out of good intentions, not because she wanted to inflict permanent physical and emotional damage on the young woman.
Her stories are mainly on familial relationships in which she has taken the relationship like husband wife, father daughter. She does not think an idea or a message before writing. The stories address perplexities in the lives of Indians or Indian immigrants, with themes such as marital discord, extra marital affairs and communication gap. Nigamananda Das writes quoting Jhumpa Lahiri
But some characters like Sita and Parvati Amma though they were steeped in the Hindu value system, manage to find space and scope for rebellion within the institution they conform to. , In The Thousand Faces of Night, the concept of womanhood was explained mainly through the characters of Sita, Devi and Mayamma. Among the three, Sita was projected as an embodiment of fortitude, sacrificing all her wishes and tastes for the well-being of her husband and daughter. Through the character of Mayamma, Hariharan had depicted the sufferings and predicaments experienced by women in a patriarchal society. But Devi was different from these two characters.
The above lines explore Virmati’s struggle against odd to create her own identity in life. In real sense, her struggle inspires everyone to achieve his or her aims. Though she suffers a lot in her life, her achievement is not small one. She rejects to become submissive, she revolts against the tradition for her selfness. She struggles for everything rather one can say, for every little thing in her life.