As explained in an earlier entry, Aloka was raised to be the perfect "Hindu wife." For this reason she has made Sujata the black sheep of the family because she is more shy yet at the same time more opinionated than Aloka is. However, her upbringing does not necessarily help her survive in jungle of New York, and in fact does nothing to salvage her relationship with Pranab. Aloka tries to be a perfect as possible for Pranab and pay special care to everything he likes, constantly stepping aside and tending to his every nook and cranny, just as she was taught to do:
"In India she'd been taught to cater to a man's wishes, not challenge them. Modern woman that she had been, she stillcouldn't quite shake herself out of traditional ways. 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)
In the paragraph right after, Aloka blames herself for the failure of the marriage, when Pranab's attitude and inability to be honest with Aloka about his feelings for Sujata, as well as his unwillingness to accept the new life in New York, is also what is breaking their marriage, even though there was not any true chemistry between them in the first place. (So, we're kind of back on Aloka being delusional, except that now she's delusional over what it means to be a woman.)
On an interesting note, Aloka finds success in New York ends up working for newspaper that features her articles as well as her advice columns for Ask Seva, and becomes a working independent woman while adjusting to her new life in New York.
Another interesting thing to note is her relationship with Jahar. Maybe I'm wrong, but it doesn't seem like Jahar holds her up to the same societal standards that her culture and Pranab may have (well, not so much Pranab, but he was to marry her only because of her social status as well as her being the perfect Hindu wife), and in that sense, Aloka is able to break free of her bonds and become here own individual person. You can say that her relationship with Jahar literally has brought her down from her uncomfortably privileged pedestal, which I found to be represented by the high-end lifestyle Aloka lives that lets her fit in, in comparison to Jahar's more down-to-earth interests:
"He was loving, courteous, generous, and protective. In the midst of the brutal chaos of the city, he'd created a small oasis and carved a nook for her in it. But what would her friends say about a man who didn't attend City Arts and Lectures or hang out in the Theater District or at Spierman Gallery, one who couldn't comment on Paul Taylor Dances?" (201)
In this sense, Jahar symbolizes Aloka's heart... which I will explain later...
Sunday, March 13, 2011
Sujata in a Feminist Perspective
Not so positive-- Sujata's affair with Pranab. This is a pretty obvious one, I would think. By persisting in her affair with Pranab, Sujata seems to be evaluating her own self worth based off how close she is or how well she attracts a man. And that if Pranab must think she is worthy than she is, but if he doesn't find her worthy then she isn't. She only starts to take care of herself better and gain confidence because of her affair with Aloka's fiancée, which I should add also seems pretty shallow:
"Only in the last few weeks had she been drawn to makeup and fine clothing, for whenever she exchanged a glance with Pranab, she saw herself radiantly reflected in his eyes. And nothing about seemed to escape his attention. Just the other day, seeing her dressed in a black sari embellished with silver embroidery, he had composed a melodious Sanskrit verse, then translated it as, "Your beauty craves a thousand eyes. Alas, I have but two." (43)
After her exile, Sujata rebuilds herself a small tea business that sustains her and keeps her well respected in her new domain-- without the help of Pranab, who meanwhile literally crashes and burns in New York because of the lack of privilege and respected he receives there and his inability to secure a highly important job: As she later tells Pranab:
"Yes, all those years I threw my life into my work. A small business is a constant struggle, but it also gives you a lot of satisfaction. This morning when I called my assistant, she asked me when I was coming back. She made me feel very good deep down inside." (233)
And then it could be said that in Darjeeling her relationship with Mreenal Bose ends up to be a sort of weakness- not only because Mreenal was picked out for her so that she couldn't go back to Pranab if she had wanted to, but in the sense that she eventually accepts. Which isn't saying she accepts the idea of arranged marriages, but the fact that she accepts Mreenal almost implies that she can't really make her decisions for herself. When she rejects Mreenal, however, she is also saying that she doesn't need the "perfect man" to be happy, and chooses her family's tea business over him-- not only is she showing her willingness to be independent and play an executive role, but she additionally shows her loyalty to her family, which then goes to tie back into the Cult of True Womanhood's idea of domesticity. Essentially, Sujata has returned back home and decided that that is where she is belongs, and the fact that she is taking care of it for her family also ties back into domesticity. So whether she is promoting female independence or a veiled regress into traditional roles is a bit puzzling.
"Only in the last few weeks had she been drawn to makeup and fine clothing, for whenever she exchanged a glance with Pranab, she saw herself radiantly reflected in his eyes. And nothing about seemed to escape his attention. Just the other day, seeing her dressed in a black sari embellished with silver embroidery, he had composed a melodious Sanskrit verse, then translated it as, "Your beauty craves a thousand eyes. Alas, I have but two." (43)
After her exile, Sujata rebuilds herself a small tea business that sustains her and keeps her well respected in her new domain-- without the help of Pranab, who meanwhile literally crashes and burns in New York because of the lack of privilege and respected he receives there and his inability to secure a highly important job: As she later tells Pranab:
"Yes, all those years I threw my life into my work. A small business is a constant struggle, but it also gives you a lot of satisfaction. This morning when I called my assistant, she asked me when I was coming back. She made me feel very good deep down inside." (233)
And then it could be said that in Darjeeling her relationship with Mreenal Bose ends up to be a sort of weakness- not only because Mreenal was picked out for her so that she couldn't go back to Pranab if she had wanted to, but in the sense that she eventually accepts. Which isn't saying she accepts the idea of arranged marriages, but the fact that she accepts Mreenal almost implies that she can't really make her decisions for herself. When she rejects Mreenal, however, she is also saying that she doesn't need the "perfect man" to be happy, and chooses her family's tea business over him-- not only is she showing her willingness to be independent and play an executive role, but she additionally shows her loyalty to her family, which then goes to tie back into the Cult of True Womanhood's idea of domesticity. Essentially, Sujata has returned back home and decided that that is where she is belongs, and the fact that she is taking care of it for her family also ties back into domesticity. So whether she is promoting female independence or a veiled regress into traditional roles is a bit puzzling.
Maybe I'm totally misinterpreting this...
Update: I couldn't find anything useful on Indian stereotypes. Period. Nothing.
My problem (or at least at first) was the sudden blue-screen-of-death moment he had when he and Aloka started their new lives in America:
"The once-loquacious man had grown silent. His mobile face had become an expressionless mask. The boisterous laugh that used to ripple through the entire upper half of his body had subsided into an occasional sneering chuckle." (96)
This is basically explained within two or so pages, and up until his epiphany Pranab's character basically goes into this overly-nostalgic shell that needs to cling onto the love of his life from eons ago. Really, it goes downhill. And then suddenly it becomes more about the fact that he can't face his problems like a man, or rather that he manipulated Aloka and Sujata:
"Nina suppressed the accusation that burned in her heart. Pranab had maneuvered her granddaughters for his own selfish gratification. He tried to appropriate their property and use their innate strength of character to compensate for his own weakness." (245)
At the point of the events that had occurred, I don't think Aloka, Sujata, or Pranab had any true 'strength of character" in the first place. Maybe they all gained from it eventually but at this point no. I won't deny that in some sense Pranab was playing with the emotions of Aloka or Sujata, but I think he tried to make it pretty clear to Aloka without making her too angry that he simply loved Sujata more.
I honestly don't know how Aloka couldn't catch on--I get that she's the perfect Indian wife and can't think for herself, but she's just unrealistically weak I guess you could say (Having her as Pranab's beneficiary in New York, however, is a nice change of pace). And the fact that she clings on the Pranab and drags her to New York with her just makes her seem a bit delusional if anything and ironically weak.
Sujata on the other hand should have known the risks of the affair in the first place, yet she continued to do so because of her jealousy of Aloka-- being Pranab's sweetheart gave her an ego boost over Aloka. And Aloka for the longest time did not consider how privileged she was in comparison to Sujata, yet still tries to keep Pranab to herself.
With all due respect to Kirchner, I feel like while it's nice to have the women of the story grow strong and powerful, I must ask-- is it really necessary to make the men look bad? I felt that throughout the book the younger women were also behaving immaturely for adults. As in it was not that convincing that they could be that immature.
Wednesday, March 9, 2011
5 Parallels to the Great Gatsby
(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.
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.
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.
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