On an arrangement of vignettes, The House on Mango Street covers a year in the life of Esperanza, a Chicana (Mexican-American young lady), who is around twelve years of age when the novel starts. Amid the year, she moves with her family into a house on Mango Street. The house is an immense change from the family 's past condo, and it is the first home her guardians really own. Be that as it may, the house is not what Esperanza has longed for, on the grounds that it is run-down and little. The house is in the inside of a packed Latino neighborhood in Chicago, a city where a large portion of poor people zones are racially isolated.
“I was never a beautiful women, and for that reason I’ve spent most of my life suffering from the shame of falling short of an unattainable standard” (87). Mairs starts off by telling us she was never a beautiful woman. By describing herself as this, it acts as an attention getter so the readers can become more interested in the reading. By putting emphasis on the topic of society 's standards for woman allows Mairs to go into greater depth with the topic, allowing readers to gain more knowledge and understanding of what the standards are like for a woman. A sullen tone is maintained throughout this chapter as Mairs describes the society 's standards for women leaving the readers a choice on how they feel about these standards.
In her opinion, stressing political points and diatribes makes the work only relevant to a certain time period. Once the problem presented in the book is resolved, the book will disappear as well. She aims to present her characters as real people, maintaining that readers will then feel more connected to the story and the issue presented. Books that touch the hearts of humanity are the ones that are remembered (Smith). In a postscript from In the Time of the Butterflies, Alvarez states that “A novel is not, after all, a historical document, but a way to travel through the human heart” (Alvarez In the Time
The information of the childhood is almost non-existential, the descriptions of traditional Africa and its habits is not found. There is no information of the landscapes, colours, noises, voices, people of Africa. All these things would be very useful and helpful in shaping and understanding her view of Africa and herself as a part of African continent. By looking at her text, you may get a feeling as if she is ashamed of her roots, or is not interested in them. However, it is not true, because in her two previous semi-autobiographical books In the Ditch (1972), Second Class citizen (1974) Buchi shared some details about the African society, its norms and values, and her life.
At the same time, the Historical Notes reveal that other records of those who lived in Gilead also exist (346). Though Offred has never participated in a coordinated regime subversive activity, her story, along with those of other survivors, now form a polyphony of resistance. Storytelling in The Handmaid’s Tale performs various functions: it is Offred’s way of resistance, her survival strategy, her intellectual pastime, and a testimony to the future. By telling herself stories she escapes into memories, shape and change her experience, and substitute the lacking communication. She uses storytelling to preserve herself, to validate her existence, to prove her life matters.
Elsa Barlow’s sentence, “There’s nothing sacred in a marriage that abuses the woman,” conveys her personal feelings towards the rights of woman. Her words are uncomplicated, with the absence of filler words. Filler words tend to extend sentences and ideas in real life. Some filler words include, “like” or “um,” and these words seem to become repetitive. Whereas, in a drama like “The Road to Mecca,” the screenwriter, Anthol Fugard, decides on a specific dialogue, which is then performed.
The second technique, free indirect style was employed by Woolf such as, when she writes in her first line of her novel: ‘Mrs. Dalloway said she would buy the flowers by herself’, this sentence is an indirect style speech which does not necessarily explains who Mrs. Dalloway is, and why she needed to buy flowers. When reading this sentence the reader will plunge into the middle of an ongoing life, this typifies the presentation of consciousness as a stream. Another example that has been given by Dowling, David. “Mrs, Dalloway”, Stream of Consciousness (1991), is the sentence ‘For Lucy had her work cut out for her’, it means the emphasize of the narrative into the character’s mind by adopting free indirect style without using the intrusive authorial tag such as Mrs. Dalloway reflected”.
Boland, on the other hand, has always made it a point to clarify that, although she considers herself a feminist, she does not consider herself a feminist poet. In a 1998 interview, Boland repeated this sentiment, saying: Poetry begins where the certainties end. I would have to say as someone who has benefited from, and is honoured to consider themselves a feminist, that literature must not be bent out of shape to accommodate an ethical position…Women writers have struggled to be heard in this century and it is very important they are not part of silencing anyone else (qtd. in Battersby, 1). While Boland does not consider herself a feminist poet because she claims that definition is too essentialist, too separatist (Boland, 1995,254), it is evident to anyone who reads her work that her poetry does indeed fit under the umbrella of feminism.
Metamorphosis of the psyche cannot simply be achieved by coming of age. One may grow older, but not mature, as Simone de Beauvoir said: "One is not born, but rather becomes, a woman." Colm Tóibín 's Brooklyn: A Novel chronicles the apparent transformation, yet intrinsic stagnation of its protagonist, Eilis Lacey. Through the events of her life, Tóibín forces the examination of whether or not crucial experiences during coming of age alter who one essentially is. While exterior facets of the protagonist change through the course of the novel, Eilis remains fundamentally the same person as she comes of age.
Self-identity and culture is an integral part of Indian women who refused to buckle themselves under the pressure and succeeded in changing their own lives and lives of those who are dependent on them. In literature, it was being portrayed by majority of writers, among them, Bharati Mukherjee, became the live example of a free woman who through her novels, portrayed the struggles of immigrant women for achieving their identity. Mukherjee provides confidence for the readers to challenge boldly against the traditional frame work of the society and to turn her way towards a new consciousness of her own worth and place in the society. Bharati Mukherjee is a well known immigrant writers of America, who started her writing career at the age of three. She has achieved many prestigious awards.