Since her mother offers her to Jacob, she seems to live her entire life thinking that her mother does not love her unlike her brother. Throughout the story, maternal love are shown through different characters between Florens and her mother, Sorrow and her child, and Lina and Florens. Firstly, one of the prominent signs of maternal love between Florens and her mother could be seen through the story. It seems to
even her voice was affected by his condition, and she was not allowed by her mother to paly or do what other teenagers do because her mom was overprotective to her. I go on a journey with Joy as she struggles against what she’s always known to be right, and wanting to fit in. Joy finds her self being a awkward ,she feel that she always doing wrong . One of the things Joy begins to deal is when he find her mother's book entitled ' Big Girls Dont Cry'. It’s a book of fiction, but it is very obviously based upon her mother’s life.
In the beginning there were two faultless girls, Mariam and Laila. Both of these intriguing girls throughout their childhoods face very crucial things, but in the long run will be very important to the presence of others. Part one of the book starts off with Mariam, who lives with her hatred, miserable mother in a tiny house in Gul Daman. ,Mariam will be forced to marry a abusive man who is Rasheed, due to her father 's disappointment of her. In Part two Laila’s world turns
She further goes on to state that it depicts a gradual adherence of women towards the rules and regulations made against them by society as in the cases of Mariam and Laila. Throughout their lives they have struggled to get freedom from any man and by growing up and becoming women, they finally see and understand their position in the world (Singh, 2013). Women are considers as objects or rather properties to men in that world. We see that through Rasheed, a 60 year old man, husband to both Mariam and Laila, how he stated it very clearly that, “A women’s face is her husband’s business only” (Hosseini, 2007:48). This quote clearly shows how men show their dominance to women.
Similarly, in the woman warrior, “no name woman” bore the wrath of the villagers in silence without uttering the name of the man who sired her child. Kingston particularly gets mad about this silence and even attacks the silent sister at the lavatory reminding her that she was not going to be a housewife. Anzadula herself claims that she will no longer be ashamed of her existence and will use her own “serpent tongue” to overcome the traditional silence (81). The two authors show that their culture had defined role for women. Anzaldua claims that hers expected a Mastiza to turn to church as a nun, to streets as prostitute or to home as a mother.
She discloses from the beginning a big dispute that happened between her and her husband because of the colour of the child, Lula Bride, that is not in her hands and cannot be individually controlled. In God Help the Child, Toni Morrison’s emphasis on colourism creates a strong voice to Sweetness, a woman recounting herself as “light-skinned with good hair, what we call high yellow”. From the very beginning, Sweetness describes her depressed situation expecting the future victimization of her baby. She says, “It didn’t take more than an hour after they pulled her out from between my legs to realize something was wrong. Really wrong.
Her writings portray women characters who struggle with cultural shackles to carve out an identity of their own in their home land and in the land they immigrate. The struggle and the hardships, the author underwent, when she came to America is vividly recreated in her novels. The American feminism, which greatly emphasis women’s independence, equality and personal freedom contrast very much with the selfless and subservient women of India. American women have fundamental rights to enjoy their freedom, but Indian women have only fundamental duties to do for their family. The two novels Sister of My Heart and its sequel The Vine of Desire deal with the lives of two distant cousins Anju and Sudha, it shows how they adapt themselves to the culture of a foreign land.
In the story Patricia Highsmith tells of a mother’s struggle with her more modern children and the more modern society. These conflicts end up destroying not only the family but also both parents, Sharon and Matthew. In the story, the main focus lies on the parents of the three daughters, Sharon and Matthew, who at first seem to be very much alike, but it turns out that this might be untrue. Sharon was raised as a puritan by her mother, who said that she ought to be “Pure in every way” (p. 93 l. 9) and had emphasized the importance of staying a virgin until marriage. Sharon went on to raise her children according to the same ideals, but not with the same success.
She clearly presents the discrimination followed by her mother in Saru’s early childhood and the discrimination of the society which makes Manu to ill-treat her after her marriage. The author throws light on her self-confidence and positive attitude which helps her to empower herself in her life actively. Work Cited: Deshpande, Sashi. The Dark Holds No Terror , NewDehi:Vikas. 1980.
All women protagonists are educated and belong to middle class family. It is the ironic fact that though they are educated and modern women, they have to struggle against orthodox principles of the society. Kapur has explored the insecurity, homelessness, captivity, suffocation, suffering and exploitation of post-modern Indian women and their pathetic plight due to the traditional mentality of the society. iii. Manju Kapur has explored disharmony in the marital institution that paves the way to the extramarital relationship of the character.