I never really thought of the Monomyth in terms of Darjeeling until now, really.
But I don't think, in the context of this story, you can really apply one whole monomyth to all the characters. Or rather, you can, it's simply that it is perceived differently by each character:
Loss/Lack: The beginning of the romantic triangle between Aloka, Sujata, and Pranab, where essentially the sisters' love for Pranab tears the foundations of the family apart. Essentially, when all three of these characters are either exiled or flee to North America, they have lost many connections with their home back at Darjeeling when they are forced to start a new life. This could very well be part of the journey however, since it takes a lot of setup to get to this "breakdown point."
If considering this stage of the monomyth to be a form of lack, then the "lack" the three characters go through is maturity or an ability to understand each other genuinely. Sujata is the black sheep, and lacks the respect and acknowledgement that her sister receives. Aloka's lack is her inability to understand her sister's struggles of always having to be in the shadow, and in a sense, she lacks indepence-- both sisters lack independence. Nina's journey for me is all about bringing Aloka and Sujata closer together, even though I find her, through all her mistakes, to be a static character. Even still, her lack would be, then, not being able to keep Aloka and Sujata together?
Journey:
Not including the exile and the immigration, which has a debatable position, the journey for Nina is trying to make amends for the tragedy of Aloka, Sujata, and Pranab's dissipated love triangle, which has also severed some of their relationships. Sujata's journey would be coping with life in Victoria then returning to Darjeeling to make her name known and to regain respect that she did not previously receive, and to be able to face Aloka, her sister and rival, after a long period of alienation. Aloka's journey is trying to overcome the shadow of the "ideal woman's glasses" as she blends into the world of New York but also faces divorce and being able to face her Indian relatives back at home. Pranab's journey is trying to figure out whether he should let go of the past and his status in order to achieve glory.
Test:
For Aloka and Sujata AND Nina, the test was probably the channer payesh making scene. Period. Or, that could be expanded to Aloka's final confrontation with Pranab and Sujata's final meeting with Mreenal when they stand up to their men and tell them that they have or can move on and do not need a man bringing them down.When Aloka stands up to Pranab in the cafe Pranab receives his test of whether he is willing to pick himself up from an impossibly dark hole.
Return:
Aloka and Parnab both return separately to New York to continue or restart their lives refreshed and renew, their relationships fixed or resolved, likewise with Sujata, who has now returned home to take care of the family tea business.
Monday, March 14, 2011
Food as a bonding point.
YES. Last entry before the fun part-- the reflection entries! (Obviously, I'm not turning this line in)
Food is definitely a bonding point. As I pointed out in the title of the journal.
Firstly, many of the turning points happen over food. Not the negative events mainly, but food signifies a change of heart or the moment when two or more characters are brought closer together.
A very largely emphasized example would be the moment when Aloka and Sujata finally settle their differences and reconcile while making channer payesh a cheese and milk dessert that their Grandma likes-- as Sujata admits to Aloka:
"When she sneaked a look at Sujata, it shocked her to see the crumpled face. Sujata bit her lip, squeezed her hands, and flexed her feet inside her sandals, like she used to do as a child when she was upset. ALoka felt a surge of affection towards Sujata, the usually tough woman, suddenly so vulnerable. 'When Thakurma asked me if I'd help you in the kitchen, at first I had reservations. Then I thought if we spent some time together we could resolve our differences....' Sujata's voice trailed off." (287)
Another moment happens before this-- when Aloka finally defends Sujata against Pranab at a cafe while they are eating snacks, despite the fact that Sujata has had an affair with Pranab in the past. This moment signifies when Aloka is finally able to let go of her grudges as well as her bondage to Pranab, and stand up for her and her sister's dignity (In this scene they were waiting for or already drinking, I couldn't tell, coffee and scones):
"'Are you saying all this because you're angry at me, because I pay more attention to Sujata?'
'Quite the contrary. I have come to consider myself fortunate that you loved Sujata more. All that time I held on to you, playing the dutiful Hindu wife, cost me years of my life. But now, fortunately, I've outgrown all that. Had we remained married, you'd have dragged me down even more.'" (270)
Also, as mentioned earlier, Aloka and Jahar first bond over food, and Sujata's last day in Victoria is spent over dinner when her friends encourage her and give her advice in regards to her romantic problems back in Darjeeling.
(On a random note, I notice that Sujata is referred to as Suzy only in the chapters she narrates... probably because she is still Sujata to the rest of the family....)
Also, Aloka and Nina are able to get closer to each other in terms of a granddaughter-grandmother relationship over a very exquisite lunch, just as Sujata and Nina in the chapter before further reconcile while discussing tea. In regards to the former, this is the moment when Nina suggests to Aloka that she make the channer payesh with Sujata. Also, at these respective points Aloka and Sujata soon reveal that they have overcome many of their obstacles and have gotten over their love for Pranab. These are also the moments when they assert their independence.
Food is definitely a bonding point. As I pointed out in the title of the journal.
Firstly, many of the turning points happen over food. Not the negative events mainly, but food signifies a change of heart or the moment when two or more characters are brought closer together.
A very largely emphasized example would be the moment when Aloka and Sujata finally settle their differences and reconcile while making channer payesh a cheese and milk dessert that their Grandma likes-- as Sujata admits to Aloka:
"When she sneaked a look at Sujata, it shocked her to see the crumpled face. Sujata bit her lip, squeezed her hands, and flexed her feet inside her sandals, like she used to do as a child when she was upset. ALoka felt a surge of affection towards Sujata, the usually tough woman, suddenly so vulnerable. 'When Thakurma asked me if I'd help you in the kitchen, at first I had reservations. Then I thought if we spent some time together we could resolve our differences....' Sujata's voice trailed off." (287)
Another moment happens before this-- when Aloka finally defends Sujata against Pranab at a cafe while they are eating snacks, despite the fact that Sujata has had an affair with Pranab in the past. This moment signifies when Aloka is finally able to let go of her grudges as well as her bondage to Pranab, and stand up for her and her sister's dignity (In this scene they were waiting for or already drinking, I couldn't tell, coffee and scones):
"'Are you saying all this because you're angry at me, because I pay more attention to Sujata?'
'Quite the contrary. I have come to consider myself fortunate that you loved Sujata more. All that time I held on to you, playing the dutiful Hindu wife, cost me years of my life. But now, fortunately, I've outgrown all that. Had we remained married, you'd have dragged me down even more.'" (270)
Also, as mentioned earlier, Aloka and Jahar first bond over food, and Sujata's last day in Victoria is spent over dinner when her friends encourage her and give her advice in regards to her romantic problems back in Darjeeling.
(On a random note, I notice that Sujata is referred to as Suzy only in the chapters she narrates... probably because she is still Sujata to the rest of the family....)
Also, Aloka and Nina are able to get closer to each other in terms of a granddaughter-grandmother relationship over a very exquisite lunch, just as Sujata and Nina in the chapter before further reconcile while discussing tea. In regards to the former, this is the moment when Nina suggests to Aloka that she make the channer payesh with Sujata. Also, at these respective points Aloka and Sujata soon reveal that they have overcome many of their obstacles and have gotten over their love for Pranab. These are also the moments when they assert their independence.
Jahar as a Symbol
This is a quick one, mainly because Jahar's a minor character.
After reading through one of my journal entries where I discuss how Aloka asserts or brings down women's roles in the book, I began to see Jahar as almost a symbolic character, whether Kirchner intended him to be one or not.
The first reason I say this is because of Jahar's intimate connection with food- when he first tries to woo over Aloka at the Korean deli, he tries to persuade by promising a home-cooked meal-as Kirchner, a cookbook author, greatly values the importance of food, and Jahar is shown to cook with his heart, food represents the soul in this context:
"'I can tell you have many important things to do. But please I'm making a good Indian meal--sukhe aloo, gughni, and pullao rice. It'd be an honor if you joined us. I'd very much like to talk to you."
This almost ties back to Aloka's search for her own cultural identity (which her counterpart Seva seems to know plenty about.) As she assimilates into life in New York, she adopts more of their dress and their tastes (when she returns to Darjeeling, she spends most of her time drinking coffee at a cafe that reminds her of New York) until she is considered to foreign to her own homeland:
"In the next few minutes Aloka confessed how in these past several days seh'd been visiting family and friends and making excursions to all her old haunts-- Birch Hill, Observatory Hill, the zoo...but no matter where she went or whom she met, she was aware that something vital had been lost forever. People sensed the difference and treated her with a certain reserve." (256)
On the outside, as Aloka no longer dons the dress and mannerisms of her home, it seems like Aloka has been fully absorbed into American culture. However, as her relationship with Jahar proves, she does not.
Jahar is uncomfortable in upscale social activities, much like the new immigrant would not be able to understand such activities. Furthermore, by writing to Seva he seems to be trying to reach to Aloka's "inner spirit," a spirit that is deeply rooted in her childhood's culture, despite her disinterest in tea. The fact that Aloka feels more comfortable and herself around Jahar also contributes to Jahar's symbolism as her spirit or even inner self.
After reading through one of my journal entries where I discuss how Aloka asserts or brings down women's roles in the book, I began to see Jahar as almost a symbolic character, whether Kirchner intended him to be one or not.
The first reason I say this is because of Jahar's intimate connection with food- when he first tries to woo over Aloka at the Korean deli, he tries to persuade by promising a home-cooked meal-as Kirchner, a cookbook author, greatly values the importance of food, and Jahar is shown to cook with his heart, food represents the soul in this context:
"'I can tell you have many important things to do. But please I'm making a good Indian meal--sukhe aloo, gughni, and pullao rice. It'd be an honor if you joined us. I'd very much like to talk to you."
This almost ties back to Aloka's search for her own cultural identity (which her counterpart Seva seems to know plenty about.) As she assimilates into life in New York, she adopts more of their dress and their tastes (when she returns to Darjeeling, she spends most of her time drinking coffee at a cafe that reminds her of New York) until she is considered to foreign to her own homeland:
"In the next few minutes Aloka confessed how in these past several days seh'd been visiting family and friends and making excursions to all her old haunts-- Birch Hill, Observatory Hill, the zoo...but no matter where she went or whom she met, she was aware that something vital had been lost forever. People sensed the difference and treated her with a certain reserve." (256)
On the outside, as Aloka no longer dons the dress and mannerisms of her home, it seems like Aloka has been fully absorbed into American culture. However, as her relationship with Jahar proves, she does not.
Jahar is uncomfortable in upscale social activities, much like the new immigrant would not be able to understand such activities. Furthermore, by writing to Seva he seems to be trying to reach to Aloka's "inner spirit," a spirit that is deeply rooted in her childhood's culture, despite her disinterest in tea. The fact that Aloka feels more comfortable and herself around Jahar also contributes to Jahar's symbolism as her spirit or even inner self.
Nina in a Feminist perspective
I honestly don't hear too much of Nina in all that I've read about her, except that (with fair exception that she is a grandmother) the classic traditionalist mother who wants to keep everything stable and just like the old days. Which is interesting, because this brings up two conflicting aspects of her which to this day leave me confused about whether she is to promote women as powerful or equal figures to men or if they are as always subservient.
She's the matriarch of the whole family, so it is in fact a woman that orchestrates everything that happens in the Gupta family (Okay, I know, it's bad logic. It's like saying that because a woman picked up a bag of money off the street, then it symbolizes that women are supposed to be in control of the money and thus economy... but that's beside the point.)
But then again she also has a role as the "nurturing mother," who raises the sisters by herself after their mother passes away and takes it upon herself to make sure both of the girls are happy and well raised as well as protected. This can, then again, go more into honoring family values and bonding.
However, one thing that Aloka points out earlier in the book is that Nina/Thakurma makes plenty of social commentary in regards to life in Darjeeling, and advocates teh growing influence of women in social, economical, and political matters:
"In my last letter I had mentioned how women in the village of Sonagunj were trying to get elected to their community council. As you well know I am all for them. It was our ancient poet Kalidasa who once said, 'Look for a land where women are in good spirits, for that is a prosperous country...'
Aloka smiled. Grandma's letters always began with a commentary on some aspect of social or political life-- she had been nicknamed All Indian Radio by her neighbors." (10)
Another thing that makes her represent the power that women have in society is when she herself defies social boundaries and expectations put upon her, and as a result becomes a respected legend. In chapter 26 starting on page 160 there is a length flashback where Nina recounts to Aloka and Sujata, then children, about how her marriage with her husband and their grandfather came to be, even though they were of different social class. She describes the way that she was mistreated by her judgmental mother-in-law, up until the day she confronted her:
"I sprang up faster than a tigress leaps at her prey, threw off the veil, and took the pins out of my hair, alowing my tresses to cascade down my back and over my face. Mouths fell open. They'd never seen such long, shiny, locks, and certainly no one expected a young married woman to assert herself in this fashion. 'Choop karo,' I said. Shut up. My mother-in-law nearly fainted, her old cousin breathed terribly hard, and the rest looked up at me in shocked silence. I felt glorious" (170)
Letting down you hair is according to the book impolite in Indian culture, so by breaking expectations of her as a wife that she couldn't meet, Nina in this scene has asserted her power and her independence in oen swish of her hair.
She's the matriarch of the whole family, so it is in fact a woman that orchestrates everything that happens in the Gupta family (Okay, I know, it's bad logic. It's like saying that because a woman picked up a bag of money off the street, then it symbolizes that women are supposed to be in control of the money and thus economy... but that's beside the point.)
But then again she also has a role as the "nurturing mother," who raises the sisters by herself after their mother passes away and takes it upon herself to make sure both of the girls are happy and well raised as well as protected. This can, then again, go more into honoring family values and bonding.
However, one thing that Aloka points out earlier in the book is that Nina/Thakurma makes plenty of social commentary in regards to life in Darjeeling, and advocates teh growing influence of women in social, economical, and political matters:
"In my last letter I had mentioned how women in the village of Sonagunj were trying to get elected to their community council. As you well know I am all for them. It was our ancient poet Kalidasa who once said, 'Look for a land where women are in good spirits, for that is a prosperous country...'
Aloka smiled. Grandma's letters always began with a commentary on some aspect of social or political life-- she had been nicknamed All Indian Radio by her neighbors." (10)
Another thing that makes her represent the power that women have in society is when she herself defies social boundaries and expectations put upon her, and as a result becomes a respected legend. In chapter 26 starting on page 160 there is a length flashback where Nina recounts to Aloka and Sujata, then children, about how her marriage with her husband and their grandfather came to be, even though they were of different social class. She describes the way that she was mistreated by her judgmental mother-in-law, up until the day she confronted her:
"I sprang up faster than a tigress leaps at her prey, threw off the veil, and took the pins out of my hair, alowing my tresses to cascade down my back and over my face. Mouths fell open. They'd never seen such long, shiny, locks, and certainly no one expected a young married woman to assert herself in this fashion. 'Choop karo,' I said. Shut up. My mother-in-law nearly fainted, her old cousin breathed terribly hard, and the rest looked up at me in shocked silence. I felt glorious" (170)
Letting down you hair is according to the book impolite in Indian culture, so by breaking expectations of her as a wife that she couldn't meet, Nina in this scene has asserted her power and her independence in oen swish of her hair.
Sunday, March 13, 2011
Aloka in a Feminist Perspective
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...
"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...
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.
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