Conclusion For the black mother, motherhood learns exactly what is entailed in the acceptance of responsibility for a new life. The taking on new responsibility will accept of suffering, sacrifice and a lot of love. The present paper is a discussion of the sufferings have been the most suppressing challenges in the lives of African American women as depicted in two great novels, The Color Purple and Meridian by Alice Walker. Alice Walker is one of the most influential figures in the American literature. Her writings are widely influential among the Western culture to see the black female as mankind nor women.
ABSTRACT The purpose of the paper is to study quest for self in the novels of Sudha Murty, taking in account the complexity of life, different histories, culture and different structure of values, the women’s question, despite basic solidarity, needs to be tackled in relation to socio-cultural situation. Women under patriarchal pressure and control are subjected to much more bunts and social exclusion. They live and struggle under the oppressive mechanism of closed society, is very much reflected in her writings. They are more discriminated and biased in lieu of their sex. Murty is considered to be one of the most realistic author, for she is able to bring the true picture of psyche of the women changing with the times.
It is considered her transitional work. Rich’s own real life experiences and her observations of life concerning the true situation of women in patriarchal society has found way in this volume. The pitiable condition of women in and out of the family, the exploitation of women in every field, the continuous tortures inflicted on them and the corresponding shattering of their nerves all influenced Rich so much so that she decided to write for women’s situation. Snapshots of a Daughter-in-Law is her break through volume. It is here that Rich for the first time asserts herself as a feminist
This further enlightens the author’s perception of identity, as she believes that underneath each is simply human. More importantly, the hardships endured when one is female, added on to the injustice faced when one is colored, reminds the reader that certain identities are harder to form, as “models” of such identities are not
It proves its genuine precocity to allow the reader to know about the heroine’s ordeals, feelings of frustration as well as about her victimization within the oppressive patriarchal society. It displays women’s struggles to conceal the politics of gender roles of their epoch and to protest against the Law of the Father. In her discussion of Gothic tropes, Anne Williams reveals that Female Gothic falls under the rubric of a marginalised genre while identifying the critical reception of the gothic in the pre-romantic era with the categorization of women as peripherized subjects, admitting that this literary form has been “congenial” to them and pleasantly suited to their lower social position (Fleenor The Female Gothic 8). In one sense, this may have been a reaction to exclusion from the male-dominated ‘higher arts’ of poetic and philosophical discourse: the natural desire to express oneself finding a new and perhaps more congenial form from only gradually found critical respectability (The Gothic Tradition
Emma is introduced as a representative young woman of her class: She is extremely snobbish, half-educated, stubborn and selfish. Her first thought is about class and authority because she lacks self-education. Thus she teases Mr. Martin and advises Harriet not to marry him: Dear affectionate creature! – You banished to Abbey – Mill farm! – You confined to the society of the illiterate and vulgar all of your life!
Our Lady of Alice Bhatti(2012) is a resonating example of Hanif’s natural gift of storytelling and of a dangerously sharp and pointed social satire. But underneath that satire is an intense critique. Hanif skillfully and realistically shows how women in Pakistan are dealt with. It is not the political issues or the religious fundamentalism which is keeping Pakistan down, Hanif argues. Alice is oppressed because she is a woman, as are the other ladies in the novel.
On par with Western novelists, Indian women writers have made a bench mark in creating an island of their own in voicing their views and perceptions about the pathetic plight of women in India. Ofcourse, Shshi Desh Pande is not exceptional because, in all her works feminism surfaces as a dominating theme one way or the other. The present paper mirrors her reflections for assertion of identity and crave for emancipation of women from the shackles of traditions and customs. So to say, in her novel, Roots and Shadows, the writer highlits the agony and suffering of the protagonist, Indu in male-dominated society. In The Dark Holds No Terrors, she touches upon male egoism and inferiority complex resulting in sexual sadism, as well the harrowing
The plot of the novel is woven around Chuiya and her friend young, beautiful Kalyani, a widow who is exploited as a prostitute. Chuiya also is raped but at last she escapes from the hell. The life of the widows at ashram is presented effectively. The female protagonist is the product of the society but when their rights are crushed under the heels of the society, they break the so called norms and live with dignity. In the novel, Water is used metaphorically.
“The Dark Holds No Terrors”, her second novel, is about the traumatic experience the protagonist Saru undergoes as her husband refuses to play a second-fiddle role. Saru undergoes great humiliation and neglect as a child and, after marriage, as a wife. Deshpande discusses the blatant gender discrimination shown by parents towards their daughters and their desire to have a male child. After her marriage, as she gains a greater social status than her husband Manohar, all begins to fall apart. Her husband's sense of inferiority complex and the humiliation he feels as a result of society's reaction to Saru's superior position develops sadism in him.