(My blog titles are losing creativity )': )
1. Despite the more moral conscience of the protagonists in Darjeeling, nonetheless they still managed to establish what they view is an pedestalized image of what the "perfect Hindu wife" would be. Originally in Darjeeling this would be Aloka, however her immigration into the U.S and assimilation into its culture takes that away from her, giving her more room to establish her own person. In the Great Gatsby Daisy is hopeless. She doesn't make an effort to change. She still acts superior. Unlike Aloka, she doesn't face her many flaws and in the end is portrayed as a particularly selfish person.
2. Putting this at a more economic standpoint, and given the social class system in India, there is a sense of class conflict even when at first, the story of Darjeeling just concerns a conplex love triangle. In this sense, Pranab can be compared to Gatsby, with the fair exception that he was able to redeem himself and change into a better, more sensible person at the end, unlike the less fortunate Gatsby. Pranab and Gatsby but have an idealized sense of what is greatness, and wants to achieve, hoping to overcome (in the case of Pranab and the treatment of the tea workers) or beat the system of (Gatsby's illegal trade) their lower social rank in the process. For Pranab, however, this is more derived from an economic standpoint.
3. If you really think about it, both books largely focus on the life of the rich, which makes it even harder for most readers to sympathize with the characters in both books. The Gupta sisters are born into wealth because of the family tea business, and up until they were displaced to North America they lived comfortably in a large house with vast tea gardens.
4. The Gupta sisters could almost emulate the new millennium version of Jordan Baker, the ideal of the "new 20's woman," more self sustainable and loose and independent than before. Neither of the Gupta sisters are loose, but they develop a strong sense of independence and like the flappergirls of the 20s shed tradition in order to achieve such success, whether in Aloka's newspaper or Suzy's tea business. Unlikes Jordan, though, they are honest.
5. Family status really comes into play. Aloka hurts her family's reputation and her reputation in the family be cause of her divorce, a taboo it seems in India. The maidservant of Nina Reenu talks about her boyfriend and how neither of their are rich, but she cannot date who Nina requested (Mreenal, I believe) for more information regarding his friend. Also, Pranab receives familial pressure to marry the more socially acceptable Aloka, even though truly he wants to marry Sujata. This is similar to how Daisy marries Tom even though for a while she secretly loved Gatsby more and had an affair with him... the whole cheating scheme makes Darjeeling seem to be similar to a gender-switched version of the Great Gatsby.
Wednesday, March 9, 2011
Mind over matter
First, a quick reminder to myself-- I read somewhere in a review that the characters are stereotypical. Will need to research Indian stereotypes later.
But all that aside, considering my observations on music, I was wondering if one of the ideas of the novel is that you shouldn't let your instinct/emotions betray, but rather you need to find an equilibrium between logic and your heart.
Take Aloka at the beginning of the novel. Despite her success and ability to reach out to others as advice columnist Seva, she is still emotionally driven at heart in an almost unhealthy and maybe delusional (but not completely, that's more Pranab) sense.
Aloka starts out at the beginning of the novel (not the story) in more of a jealous rage, as the divorce has betrayed her trust in being able to be a good housewife to Pranab. Her possessiveness did not simply begin there-- in helping Pranab escape Darjeeling, Aloka had also rationalized that she could kept Pranab away from his lover Sujata:
"Pranab would forget Sujata. Surely he would. Over time that name would carry no more significance that a fallen tree on the streets of his memory.This notion,if illusory, gave Aloka the sense of optimism she needed to go on." (85)
Aloka feels as if she is best for Pranab, and tries to care for him and remain loyal to him and convince him, also, of his worth in the only way she knows best. It is in this way that she attempts to salvage their crumbling marriage:
"In India she'd been taught to cater to a man's wishes, not challenge them. Modern woman that she had been, she still couldn't quite shake herself. She offered him larger servings at dinner, let him sleep on the window side of the bed, even made sure he got first chance at the front section of the New York Times in the morning." (98)
However, their marriage still fails.
Another thing to note is the subsequent paranoia that Aloka feels when she discovers proof in a letter that Pranab had hidden regarding his love for Sujata. Aloka can only be angry with Sujata, and although Sujata herself is overwhelmed by Pranab's declaration of his undying love, this is not apparent to Aloka (at the moment I can't find the quote, but there's one part where she assumes Sujata to be evilly plotting against her, to put it simply).
Obviously, jealousy takes huge root in this, and does take over not only Aloka but also Sujata and Pranab. There seems to be in their jealousy some idealized sense of what things should be... Aloka continually discusses that she and Pranab will reunited upon their return to Darjeeling, due to feelings of nostalgia. Or rather, to me, given that Aloka is around 40, it just doesn't seem believable.
But all that aside, considering my observations on music, I was wondering if one of the ideas of the novel is that you shouldn't let your instinct/emotions betray, but rather you need to find an equilibrium between logic and your heart.
Take Aloka at the beginning of the novel. Despite her success and ability to reach out to others as advice columnist Seva, she is still emotionally driven at heart in an almost unhealthy and maybe delusional (but not completely, that's more Pranab) sense.
Aloka starts out at the beginning of the novel (not the story) in more of a jealous rage, as the divorce has betrayed her trust in being able to be a good housewife to Pranab. Her possessiveness did not simply begin there-- in helping Pranab escape Darjeeling, Aloka had also rationalized that she could kept Pranab away from his lover Sujata:
"Pranab would forget Sujata. Surely he would. Over time that name would carry no more significance that a fallen tree on the streets of his memory.This notion,if illusory, gave Aloka the sense of optimism she needed to go on." (85)
Aloka feels as if she is best for Pranab, and tries to care for him and remain loyal to him and convince him, also, of his worth in the only way she knows best. It is in this way that she attempts to salvage their crumbling marriage:
"In India she'd been taught to cater to a man's wishes, not challenge them. Modern woman that she had been, she still couldn't quite shake herself. She offered him larger servings at dinner, let him sleep on the window side of the bed, even made sure he got first chance at the front section of the New York Times in the morning." (98)
However, their marriage still fails.
Another thing to note is the subsequent paranoia that Aloka feels when she discovers proof in a letter that Pranab had hidden regarding his love for Sujata. Aloka can only be angry with Sujata, and although Sujata herself is overwhelmed by Pranab's declaration of his undying love, this is not apparent to Aloka (at the moment I can't find the quote, but there's one part where she assumes Sujata to be evilly plotting against her, to put it simply).
Obviously, jealousy takes huge root in this, and does take over not only Aloka but also Sujata and Pranab. There seems to be in their jealousy some idealized sense of what things should be... Aloka continually discusses that she and Pranab will reunited upon their return to Darjeeling, due to feelings of nostalgia. Or rather, to me, given that Aloka is around 40, it just doesn't seem believable.
The Power of Music
Consider Pranab's interest in Bhangra dancing, a secret of his that was exposed to Aloka only after their divorce, which he hid from Aloka even while they were engaged. He first explains to Sujata in one of their times alone:
"Bhangra. Not even your sister knows about it. She's so much into classical music and dancing that I can't bring myself to tell her. What little music training I've had is also classical. But recently I have become interested in traditional village dancing...When I am dancing... I feel at one with the simplest of people. Too often we look down on the, and forget that they're essential to our prosperity; indeed to our very own survival." (35)
Pranab has revealed in Sujata the less reserved, more emotional side of himself through his interest in dancing, which dismisses the prim and proper of what Aloka, a representation of the perfect Hindu wife, clings so tightly to. His relationship with Sujata is also, if anything, less controlled and more impulsive--oh, and it's an affair. But his love for dance seems to dig in too deep into his emotions-- his love for Sujata, revealed through dance, overtakes him and severs his marriage with Aloka in New York. Aloka and Sujata both observe that he has only been thinking of Sujata all this time that he has been wed to Aloka. His youthful idealization which has inspired to start a revolution among the tea workers now transcends into music and thus his romance. Perhaps the "perfection" of Aloka's behavior as a Hindu wife has left the relationship static to him.
After the divorce, Aloka visits Pranab one time to accidentally observe him while he is in the middle of a dance. After he reveals to her that he has danced Bhangra before he and Aloka had even escaped Darjeeling embitters Aloka:
"An impenetrable, secretive look on Pranab's face confirmed Aloka's suspicion. When Sujata left Darjeeling, she took his dancing with her. At that instant Aloka had a revelation. Late at night, in deep sleep, when one is immersed in one's truth, she would curl up against Pranab and hear the uneven thump of his chest...That longing.... was for Sujata." (183)
But Sujata at this point in the story has pretty much been close to surpassing a dependence on Pranab's love, while Pranab, excited by the prospect of seeing Sujata again, decides to regress back into happier times, or the past, when he was well respected by many. His dancing and his music, through the powerful emotions that it has given him, has ultimately disillusioned him.
"Bhangra. Not even your sister knows about it. She's so much into classical music and dancing that I can't bring myself to tell her. What little music training I've had is also classical. But recently I have become interested in traditional village dancing...When I am dancing... I feel at one with the simplest of people. Too often we look down on the, and forget that they're essential to our prosperity; indeed to our very own survival." (35)
Pranab has revealed in Sujata the less reserved, more emotional side of himself through his interest in dancing, which dismisses the prim and proper of what Aloka, a representation of the perfect Hindu wife, clings so tightly to. His relationship with Sujata is also, if anything, less controlled and more impulsive--oh, and it's an affair. But his love for dance seems to dig in too deep into his emotions-- his love for Sujata, revealed through dance, overtakes him and severs his marriage with Aloka in New York. Aloka and Sujata both observe that he has only been thinking of Sujata all this time that he has been wed to Aloka. His youthful idealization which has inspired to start a revolution among the tea workers now transcends into music and thus his romance. Perhaps the "perfection" of Aloka's behavior as a Hindu wife has left the relationship static to him.
After the divorce, Aloka visits Pranab one time to accidentally observe him while he is in the middle of a dance. After he reveals to her that he has danced Bhangra before he and Aloka had even escaped Darjeeling embitters Aloka:
"An impenetrable, secretive look on Pranab's face confirmed Aloka's suspicion. When Sujata left Darjeeling, she took his dancing with her. At that instant Aloka had a revelation. Late at night, in deep sleep, when one is immersed in one's truth, she would curl up against Pranab and hear the uneven thump of his chest...That longing.... was for Sujata." (183)
But Sujata at this point in the story has pretty much been close to surpassing a dependence on Pranab's love, while Pranab, excited by the prospect of seeing Sujata again, decides to regress back into happier times, or the past, when he was well respected by many. His dancing and his music, through the powerful emotions that it has given him, has ultimately disillusioned him.
Some quick notes and observations in regards to the narration
(I inwardly made a promise to my Humanities teacher that I would write WAYYYY less on my assignments...obviously, I haven't been to true to that promise, especially judging by the first 5-6 posts of the blog. So starting from this post, I'm coming clean and trying not to go all overkill... because that just makes it hard on me too, and can be a pain to read)
1. There are three narrators, though the story is mainly told through third person, so it's better to say that there are three perspectives represented in full, inside and out: Sisters Aloka and Sujata, and their grandmother Nina. The book will sporadically alternate between the three characters,though there is still an order to it or at least something to tie it all together.
2. The appearances, as goes:
Aloka: chapters 1-4, 7, 10, 12-15, 18, 20, 25, 28, 31, 34, 38, 43, 45-46, 49
Sujata: chapters 5-6, 16, 21-22, 26-27, 29, 32, 35-37, 42, 44, 47-48
Nina: 8-9, 11, 17, 19, 23-24, 30, 33, 39-41
3. Not only does Aloka begin and end the story, she seems to be the most dispersed chapter wise throughout the book, as if she is the one who ultimately ties the story together-- a different point of view for me, for I would otherwise expect that Sujata would be the one to do so. Interestingly enough, Aloka is also the writer of the family, so it almost implies that she, as a writer, has woven this tale into her own story. And not to mention Kirchner is a writer herself, or she wouldn't have written this book.
4. In fact, there seems to be some very odd tier going on with the structure of the novel-- Aloka takes the ends of it (the start and finish of the novel), her chapters seemingly lined by Sujata's chapters, then Nina's chapters and otherwise mixed in with Aloka and Sujata in the "middle"-- I wonder if this was intentional...
5. Regarding the trustworthiness of each viewpoint, all sides are indefinitely biased, but because the story is being looked at by three different characters whose lives and familial roots are deeply entwined with each other, it balances out-- I thin Kirchner was trying to avoid making any of the main characters, well, antagonistic, if not misguided or affected differently by Pranab's romances. So as such, the reader won't agree with Aloka when she angrily and mentlly calls her sister "bhoot" as they have seen that Aloka may be paranoid about Sujata reuniting with Pranab, but they can all easily sympathize with her frustrations.
6. Most notably, all the narrators are women. However, this seems to lead to almost what I view as a vilification of some of the male characters, such Mreenal and Pranab, as they are gradually portrayed as more and more weaker/judgemental (though Pranab "redeems" himself) while the women narrators view each other as influential or stronger than ever.
1. There are three narrators, though the story is mainly told through third person, so it's better to say that there are three perspectives represented in full, inside and out: Sisters Aloka and Sujata, and their grandmother Nina. The book will sporadically alternate between the three characters,though there is still an order to it or at least something to tie it all together.
2. The appearances, as goes:
Aloka: chapters 1-4, 7, 10, 12-15, 18, 20, 25, 28, 31, 34, 38, 43, 45-46, 49
Sujata: chapters 5-6, 16, 21-22, 26-27, 29, 32, 35-37, 42, 44, 47-48
Nina: 8-9, 11, 17, 19, 23-24, 30, 33, 39-41
3. Not only does Aloka begin and end the story, she seems to be the most dispersed chapter wise throughout the book, as if she is the one who ultimately ties the story together-- a different point of view for me, for I would otherwise expect that Sujata would be the one to do so. Interestingly enough, Aloka is also the writer of the family, so it almost implies that she, as a writer, has woven this tale into her own story. And not to mention Kirchner is a writer herself, or she wouldn't have written this book.
4. In fact, there seems to be some very odd tier going on with the structure of the novel-- Aloka takes the ends of it (the start and finish of the novel), her chapters seemingly lined by Sujata's chapters, then Nina's chapters and otherwise mixed in with Aloka and Sujata in the "middle"-- I wonder if this was intentional...
5. Regarding the trustworthiness of each viewpoint, all sides are indefinitely biased, but because the story is being looked at by three different characters whose lives and familial roots are deeply entwined with each other, it balances out-- I thin Kirchner was trying to avoid making any of the main characters, well, antagonistic, if not misguided or affected differently by Pranab's romances. So as such, the reader won't agree with Aloka when she angrily and mentlly calls her sister "bhoot" as they have seen that Aloka may be paranoid about Sujata reuniting with Pranab, but they can all easily sympathize with her frustrations.
6. Most notably, all the narrators are women. However, this seems to lead to almost what I view as a vilification of some of the male characters, such Mreenal and Pranab, as they are gradually portrayed as more and more weaker/judgemental (though Pranab "redeems" himself) while the women narrators view each other as influential or stronger than ever.
I absolutely love music, but...
Well, music is certainly portrayed in what initially appears to be a positive light, as shown in a passage where the book, in Aloka's point of view, describes the joy that it instills in her:
"Music had always been a passion of hers and even now she practiced every week. Music helped her come in touch with her many emotions." (20)
Aloka and Pranab fall for each other (or at first) in large part due to their common passion for music. Aloka and Pranab enjoy playing traditional instruments and singing more traditional Indian music. Through music and melodic, lyrical words, they express to each other their romance to each other.
Despite the overflow of passion and emotion that music instills in Aloka and Pranab, it must be kept in mind that firstly, Aloka had pursued music partly because of her grandmother, Nina:
"A more likely explanation of Grandma's generosity might have been that the marriage potential of a girl in the present society improved if she could sing. Grandma had made sure that Aloka, throughout her adolescence, was given extensive training, and it had paid off handsomely.Theses days, whenever friends and relatives gathered, Aloka was asked to perform." (47-48)
Also, Aloka, as Sujata puts it, is the more popular of the two sisters, and more accepted by the traditions of Indian society:
"And from the family's point of view it was heartening that when the itme came for Aloka to take over the tea estate, the experienced and capable Pranab would be there to see that the operation ran smoothly. What better person for the job? Sujata rankled that there appeared to be no place for her in this blissful picture." (30)
The more opinionated and reserved Sujata is marginalized by her society, whereas Aloka fits in perfectly-- her expertise in music does plenty to help. While music gives Aloka freedom, it seems to suppress the less musically able Sujata. But at the same time, as Aloka is raised to be the perfect Indian wife, music truly serves as a more traditional and almost superficial role into the lives of the characters.While that emphasizes the importance of music to Indian culture, it forces Aloka into a specific role that she is expected to play to maintain her status-- a requisite that she soon dismisses later in the book.
"Music had always been a passion of hers and even now she practiced every week. Music helped her come in touch with her many emotions." (20)
Aloka and Pranab fall for each other (or at first) in large part due to their common passion for music. Aloka and Pranab enjoy playing traditional instruments and singing more traditional Indian music. Through music and melodic, lyrical words, they express to each other their romance to each other.
Despite the overflow of passion and emotion that music instills in Aloka and Pranab, it must be kept in mind that firstly, Aloka had pursued music partly because of her grandmother, Nina:
"A more likely explanation of Grandma's generosity might have been that the marriage potential of a girl in the present society improved if she could sing. Grandma had made sure that Aloka, throughout her adolescence, was given extensive training, and it had paid off handsomely.Theses days, whenever friends and relatives gathered, Aloka was asked to perform." (47-48)
Also, Aloka, as Sujata puts it, is the more popular of the two sisters, and more accepted by the traditions of Indian society:
"And from the family's point of view it was heartening that when the itme came for Aloka to take over the tea estate, the experienced and capable Pranab would be there to see that the operation ran smoothly. What better person for the job? Sujata rankled that there appeared to be no place for her in this blissful picture." (30)
The more opinionated and reserved Sujata is marginalized by her society, whereas Aloka fits in perfectly-- her expertise in music does plenty to help. While music gives Aloka freedom, it seems to suppress the less musically able Sujata. But at the same time, as Aloka is raised to be the perfect Indian wife, music truly serves as a more traditional and almost superficial role into the lives of the characters.While that emphasizes the importance of music to Indian culture, it forces Aloka into a specific role that she is expected to play to maintain her status-- a requisite that she soon dismisses later in the book.
Without food, life would end. And without life, there'd be no one to cook and eat it.
YES, FOOD! What I observe about the use of food in Darjeeling is most likely universal at best, but I feel that the way that it ties the story together really emphasizes the larger themes of the book, and is in itself an overarching theme. The foods that the characters eat not only revive memories but make common threads between the people around them, and food indeed forges relationships--Especially considering that the book is about a tea industry and romance, there is in the most appropriate sense something sensual about the usage of food in the book. Something heartwarming about it.
Also, I consider this-- young children are generally very picky eaters, but as they grow they also learn to open their minds to new kinds of foods, a lot of it coming from the experiences that they go through in life. So basically, food is a qualitative measure of growth and maturity.
In a similar sense, though given the wide array of foods I don't think the characters are very picky, food and especially tea is a measure of growth for the Gupta sisters also, in how they forge and forget their relationships and rivalry.
A few examples (And this will span over the course of the whole book):
1. Food becomes a source of comfort when people do not. This may be because food is given meaning to the person who eats it-- To Aloka on page 9,
"A half dozen crescent shaped cookies called Pleasure Domes.... with their powdery, sugar-dusted tops and faint vanilla scent, they were her current weakness. Right now they only held scant appeal, serving only as a reminder of a friend's birthday bash."
2. The author, Bharti Kirchner, is also a cookbook author-- this may explain why she sprinkles (I lost count after around 20 or so) every Indian dish she can think of throughout the entire course of the book, and gives a vivid description of the taste, aroma, and texture (and appearance) of the dishes. In this sentence alone on page 167, she lists six within a couple of clauses-- "luchi, aloor dam begun bhaja, cholar dahl, payesh, and two kinds of sandesh-- all for an afternoon tea." She does this many instances throughout the book, including on page 144 too.
3. Or, after a few pages or so a reference to some sort of food will come up in some way or another--
a. It is ground for conversation and thus bonding-- in the awkward dinner scene between Nina (the grandmother of Aloka and Sujata), Sujata, and Pranab, Pranab seems to drive the conversation: "It'd be a pleasure to see you. And rui is my big weakness." (52) "Ah, rumali roti... smooth as a silk handkerchief-- so aptly named." (53)
b. Speaking of bonding, Aloka warms up to minor character Jahar when she firsts meets him over food, as they start discussing jack fruit while Aloka is picking up dinner at a Korean deli. Then Jahar invites Aloka over to dinner and cooks for her by hand, while they discuss how Jahar prepares the meal. At the end, Aloka realizes that she has bonded with Jahar despite her initial apprehension, as spending time with Jahar enlightens her. After pretending to be a woman named Parveen to Jahar, Aloka at the end confesses to him the truth and adds:
"'I enjoyed being with you. You brought out a new me. I could be livelier and more spontaneous... and look at the world differently." (280)
Chai.Cha.Te.Tea
For starters, Aloka and Sujata are born into a family-run tea factory in Darjeeling, as explained on pages 17-18, which talks about Aloka's past in terms of the tea business:
"Her personal connection to tea ran much deeper than his, going all the way back to the 1800s...when her ancestors first tasted the tea, they found it so satisfying that they resolved to buy this choice location and settle down... the estate had prospered under the Guptas..."
Despite her "personal connection," Aloka doesn't care much for tea at all: "As the oldest child in the family, it would all be hers one day, even though her interest in the farming and marketing aspects of tea was nonexistent." (14) ON the other hand, as seen later in the book, Sujata is completely dedicated to tea, as she is introduced in the book being in the middle of her privately-owned tea business in Victoria BC. Likewise, the middle of the triangle, Pranab, is successful for his ability to taste the quality and tend to the growing and production of tea-- in addition, Pranab has a tendency to idealize all his passion and turn them into something grandiose-- his love for tea and the process, it could be said, is what ultimately led him to start a rebellion against his boss.
Indeed, tea is also a huge bonding point between Sujata and Pranab-- they share more intellectual and personal interests with each other such as tea and workers' welfare, and more deeply passionate interest's such as Pranab's dancing:
"And, without waiting for a reply, began to discuss two crop pests, red spiders and green flies, as well as soil erosion problems. Finally he asked her if she had noticed anything in particular during her walk through the field. She felt flattered at being asked and mentioned that not all the tea workes had gloves on...Before she knew it, an hour had passed and he'd given her a detailed account of the worker's living conditions, as well as his own suggestions for improving their lot." (40)
"I think about you during my dance practice. I want to perform for you sometime." Pranab, page 43
Even Nina notices the connection:
"Nina noticed, too, that both Sujata and Pranab drank endless cups of tea. Their obvious intimacy was centered around tea." (53)
And when Sujata is forced to leave Pranab and her house to go to Victoria, it is in the end tea that sustains her and makes her a successful and independent business woman without the memory of Pranab dragging her down.
To quote Bharti Kirchner from an interview I found in the International Examiner, "To me tea is a symbol, as it is in the book - of slowing down, of paying attention to the moment, of relating to a friend."
Naturally, the affair of Pranab and Sujata is, like tea, very in the moment-- it is done without considering the consequences of being discovered and subsequently punished.
Sujata's tea business, then, shows her living in the moment in a different way-- having let go (for the most part) of her tragic past in Darjeeling, her pursuits in tea allow her to keep up with the times form new relations with the business world of Victoria, finding a way to belong despite feeling isolated in a land foreign from Darjeeling.
"Her personal connection to tea ran much deeper than his, going all the way back to the 1800s...when her ancestors first tasted the tea, they found it so satisfying that they resolved to buy this choice location and settle down... the estate had prospered under the Guptas..."
Despite her "personal connection," Aloka doesn't care much for tea at all: "As the oldest child in the family, it would all be hers one day, even though her interest in the farming and marketing aspects of tea was nonexistent." (14) ON the other hand, as seen later in the book, Sujata is completely dedicated to tea, as she is introduced in the book being in the middle of her privately-owned tea business in Victoria BC. Likewise, the middle of the triangle, Pranab, is successful for his ability to taste the quality and tend to the growing and production of tea-- in addition, Pranab has a tendency to idealize all his passion and turn them into something grandiose-- his love for tea and the process, it could be said, is what ultimately led him to start a rebellion against his boss.
Indeed, tea is also a huge bonding point between Sujata and Pranab-- they share more intellectual and personal interests with each other such as tea and workers' welfare, and more deeply passionate interest's such as Pranab's dancing:
"And, without waiting for a reply, began to discuss two crop pests, red spiders and green flies, as well as soil erosion problems. Finally he asked her if she had noticed anything in particular during her walk through the field. She felt flattered at being asked and mentioned that not all the tea workes had gloves on...Before she knew it, an hour had passed and he'd given her a detailed account of the worker's living conditions, as well as his own suggestions for improving their lot." (40)
"I think about you during my dance practice. I want to perform for you sometime." Pranab, page 43
Even Nina notices the connection:
"Nina noticed, too, that both Sujata and Pranab drank endless cups of tea. Their obvious intimacy was centered around tea." (53)
And when Sujata is forced to leave Pranab and her house to go to Victoria, it is in the end tea that sustains her and makes her a successful and independent business woman without the memory of Pranab dragging her down.
To quote Bharti Kirchner from an interview I found in the International Examiner, "To me tea is a symbol, as it is in the book - of slowing down, of paying attention to the moment, of relating to a friend."
Naturally, the affair of Pranab and Sujata is, like tea, very in the moment-- it is done without considering the consequences of being discovered and subsequently punished.
Sujata's tea business, then, shows her living in the moment in a different way-- having let go (for the most part) of her tragic past in Darjeeling, her pursuits in tea allow her to keep up with the times form new relations with the business world of Victoria, finding a way to belong despite feeling isolated in a land foreign from Darjeeling.
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