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Her collection of short stories, The Interpreter of Maladies, won the 2000 Pulitzer Prize for Fiction. It drew criticism especially from the Indians because they said that India was not painted in a more positive light. However, it still managed to become a bestseller. Lahiri writes nonfiction, sometimes published in The New Yorker, like Cooking Lessons, which talks about the importance of food in her relationship with her mother. Her writing style is actually simple. She uses simple words and plain language. Her characters are usually Indian-American, or Indians, by default. The setting is mostly America in which her characters have to navigate their native values into their new adopted home. Sometimes, one might think that her work is autobiographical, which is true because she says, she draws from her experiences. Of course, she also draws from the experiences of her friends and family, and this makes her literature more accessible and familiar to her readers. Her work is a good reference to find the nuances of immigrant life, especially the Indian-American life. Her literature is also heavy on the use of local color. Of course, since her work is largely regionalistic, it can’t be helped if she uses local color to demonstrate the customs or other cultural artifacts native to her own land. It is both romantic and realistic; Romantic in a sense that it invokes nostalgia and sentimentality but also romantic since it involves realism, as in the realistic struggles of some folks in the stories. Local color stories tend to focus more on the details of the character and setting rather than the individual character itself. They can sometimes be stereotyped rather than be identified as a special character in the story. The characters are important because they are the ones who demonstrate the culture and the other cultural artifacts that the author is writing about. They also give away the values and the customs, as well as their adherence to tradition and that is directly related to the regional context of the author. The setting is also important. Unlike the character, details of the setting can be heavily detailed as to provide the necessary mood in the story. Sometimes, the setting is not the motherland, especially if they are talking about disconnect. Although Lahiri’s stories are fiction, she uses the first person point of view. This lends the story a personal touch. The narrator in her stories acts as a tour guide in the world that she paints. This first person point of view is quite refreshing because the readers feel extra special because they think that they are entering a secret world with the author. This makes Lahiri’s works exceptional. Another thing that makes Lahiri’s works exceptional is the fact that she uses food, language and religion as tools that mark her ethnic identity. These “little” details provide the necessary atmosphere in order for the story to be successful in portraying the local colors. In the story When Mr. Pirzada Came To Dine, Lahiri’s persona takes as a character of the narrator, who happens to be a little girl named Lilia. At one point of her life, a certain Mr. Pirzada from Dacca came to their house regularly for dinners. This was the time when Pakistan and India were fighting around 1965 (Indian-Pakistani War). Mr. Pirzada came to their house for the food, because he was not at all well-off as an immigrant, and of course, as someone from their own race/culture, even if they are Indians and Mr. Pirzada is a Pakistani, they welcomed him because they understood his plight as an
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When Mr. Pirzada Came to Dine.
Mr. Pirzada, a scholar from Dacca, comes to Lilia’s family home to dine almost every night. At first, Lilia thinks that the reason for Mr. Pirzada’s regular visits to their home has something to do with her parent’s Indian origin.
Jhumpa Lahiri makes an interesting beginning in her novel “The Namesake”(2004,p.1)thus: Making a mention of her heroine of the book, Ashima Ganguli, she writes, “…combing Rice Krispies and Planters peanuts and chopped red onion in a bowl. She adds salt, lemon juice, thin slice of green chili pepper, wishing there were mustard oil to pour into the mix.” Her achievements with the pen are such a heterogeneous mixture in literature as we find in this description.
Hell-Heaven is a story by Jhumpa Lahiri about a Bengali family that moved to America. The father of the narrator is a scientist and the mother a homemaker with typical Bengali characteristics. It is a story about the difficulties and the dynamics of a family abroad. The title suits the story as it includes all the different aspects.
According to the research findings, it can, therefore, be said that with flowing narrative, Lahiri unfolds the complexity of human relationships, in this story that touches everyone. As a result of research, it was suggested that the story develops on the subject of the immigration and the discovery of the foreign.
Edna herself remarks that as she moves into the pigeon house she feels she is lower on the social rank. Another naturalistic element in the novel is the portrayal of Edna as a victim of fate, chance, of an uncaring world, pulled into a consuming, but indifferent sea.
She is the receiver of a Guggenheim Fellowship, the 2000 Pulitzer Prize, the PEN/Hemingway Award and The New Yorker Debut of the Year. Among others, for The Namesake she received the title of New York Times Notable Book and was selected as one of the greatest books of the year 2003 by USA Today and Entertainment Weekly.
In the story, The Third and Final Continent, the narrator mainly narrates the first weeks of his life experiences in America, around 1969. He was mainly describing how he was struggling in order to balance his new
ween the two beams produces colors diverse from the source light by productive impedance since the period of the fast beam is moved with respect to the moderate beam. The act of light slowing down as it passes through a substance is measured using a number referred to as the
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