As Hannah becomes a mother herself and a mother being the first model of love that the children experiences, she emotionally detaches herself from Sula as she was detached from her mother. Sula is able to shape her ego and separate herself from her family after she overhears her mother’s conversation: "You love her, like I love Sula. I just don't like her". Hannah not representing an admirable empathetic mother figure makes Sula assert control over her identity through the inability of connecting with other people as an adult. She is able to find her autonomy and independence denying responsibilities and attachment to anything.
Louise was grieving and at the time she felt a joy from the feeling of independence, but she was afraid to show it for a while because she knows it’s not right to feel like that. Her marriage wasn’t a bad marriage but even the best marriages can be a burden on someone. The window that was open in her room expresses the idea of freedom and chasing after something you want. First, when Louise’s husband dies she is overwhelmed with sadness and grief “She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone.
Uphold her mother’s traditions, but her mother’s memory and identity. This is similar to agree to disagree, even though she has been guilty remains not to go back and didn’t finished college she fears that she has already failed to uphold her mother’s dreams. An-Mei Hsu: Scar In this vignette, the author writes, “So I knew Popo wanted me to forget my mother on purpose, and this is how I came to remember nothing of her” (Tan 42). This quote shows that her mother was ignored. This ties to balance individuality and closeness because An-Mei is easily allowing the balance of connection and separateness fall apart with her mother.
She reveals throughout the course of the story that she is unhappy in her marriage because her husband seems to care little for her, and is really more interested in talking about himself than anything else. Further, she laments her lost potential; she details twice that she could’ve been a Hollywood movie star, though the chance was taken from her by her mother, who worried she was too young. But Curley’s wife has another side that is petty,
Because Eliza is jealous of Georgiana, she prevents Georgiana from eloping with the man she loves. And that’s why they hate each other. Both of Misses Reed are selfish, they don't care about their mother's illness or death. While Mrs. Reed is suffering from her deteriorating health, Georgiana feels bored and wishes if her aunt who lives in London invites her to their home, and Eliza is busy in planning for her life after her mother's death. When Mrs. Reed dies Jane says, "Neither of us had dropped a tear."
At that moment she genuinely wishes she were born a son, which would have equipped her better in dealing with the challenges of her life. The words “Each disappointment, ice above my river” indicate that she is fully sapped of enthusiasm after those ‘perceived’ failings (750). She feels that she will never find success in school, and she is never able to please her parents. Perfection is something that we as humans often strive to achieve. Additionally, it is human nature to try to please those that we care about.
Lahiri writes about how his marriage isn’t harmonious and how Mr. Kapasi longs to establish a relationship with Mrs. Das. Mr Kapasi is also seen as modest when he fails to see how important his job is (pg 51). Towards the beginning of the story, Mrs. Das is interpreted as a lady who has distanced herself from her family and acts more as a “sister” to her children than the parent she is. This is evidential when on page 48, Mrs. Das declines her daughter’s wish for painted nails by telling her, “Leave me alone… You’re making me mess up.” While it is expected for an older sibling to nonchalantly wave away a younger one, the same attitude is not usually likely with parents. On page 49, Lahiri lets it be known that Mr. Kapasi acknowledges that the Das’ acted as older siblings to the children rather than parents.
With this comes the revelation that she herself doubts her ability to understand her child. The reader is privy to the narrator’s thoughts, and thus are exposed to the circumstances that surrounded the problem child’s raising: a single mother, a working mother, a self admitted distracted mother, and caretakers to whom “she was no miracle”. Through the author’s use of flashback, the narrator’s guilt becomes clear. Her daughter was beautiful “to the seeing eye[,] [b]ut the seeing eyes were few or nonexistent. Including [hers]”.
If Mainini had any ideals as a young woman, little reference is made to them. Instead she takes on the role of the supressed woman – supressed by a community that expected her to marry, and be submissive to her lazy husband, but also suppressed by a culture where a women’s needs were secondary to that of her husband and family. Mainini has long since accepted this fate as her reality, and encourages Tambu to do the same. Mainini’s only hope lies in her children, especially her male children, and with the death of Tambu’s brother, Nhamo, a piece of Mainini dies too. In contrast to Mainini, Tambu’s aunt, Maiguru, within the same culture, rose above her circumstances.
The Bride feels constrained by the obligation to marry in any respect, not to mention to be sealed far from society for the rest of her days. Even though she doesn't love the Bridegroom, she appreciates that he are a decent husband and provider, however marrying for either wealth or pure sexual passion appears, unpleasant to the Bride. Her struggle to seek out a middle approach proves fruitless, and her excruciating dilemma is representative of the situations of the many rural women in equally untenable situations. I think the foremost helpful part of this