Trauma and the Pursuit of Equality and Empowerment of Women: A Comparative Analysis of Texts by Margaret Atwood, Kiran Desai, and Arundhati Roy

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Citation

Qureshi, T., & Javed, I. (2026). Trauma and the Pursuit of Equality and Empowerment of Women: A Comparative Analysis of Texts by Margaret Atwood, Kiran Desai, and Arundhati Roy. International Journal of Research, 13(2), 135–145. https://doi.org/10.26643/ijr/2026/38

Tanzah Qureshi Dr. Indira Javed

Research Scholar, tanzahq02@gmail.com Professor

BU, Bhopal SNGGPG College Bhopal

Abstract-

This paper focuses on various cultural, social and political nuances that help to subjugate the women and the impact this has on the quest for equality. The women writers though shy away from being called the feminist still focus on the issues faced by women, their silent endurance to the discrimination and cultural subjugation which results in various problems faced by them. The female characters in the respective novels face their trails and are triumphant by resolving their psychological or sociological issues. The women writers by talking about these problems have brought them to the centre stage and have thus created a dialogue for gender equality. This analysis delves into Margaret Atwood, Kiran Desai, and Arundhati Roy’s intricate connection between trauma and the quest for empowerment of women by examining the specific manifestations of subjugation within their respective narratives.

Keywords– Trauma, Women empowerment, Gender equality, Alienation, Estrangeness Effect

Objectives

To understand the perspectives of gender from the view point of Margaret Atwood, Arundhati Roy and Kiran Desai,

To explain the effect of gender and patriarchy on women psyche,

Methadology

The research methodology of this research paper is qualitative in design. Researcher has used both primary and secondary material to prove the objectives. Textbooks, critical material such as Research Papers, Journals and viewpoints of experts have been utilized. This is descriptive, explanatory, analytical and comparative study.

Introduction

Trauma acts as a major barrier to women’s equality, rooted in systemic patriarchal structures, gender-based violence, and transgenerational cycles of abuse. It induces fear, anxiety, and diminished self-confidence, hindering autonomy and economic empowerment. Overcoming this requires trauma-informed approaches, safe spaces, and active engagement of men to dismantle inequality. Addressing trauma is not just an individual, therapeutic need but a necessary step for societal progress in achieving gender equality and empowering women to fully participate in all aspects of life.

Review of Literature and Discussion

“Through her vivid portrayals of women’s struggles and triumphs, Roy critiques the patriarchal systems that perpetuate gender inequality, while also celebrating the resilience and agency of her female protagonists” (Raman and Kumar 2021). This quote suggests that Roy in extreme goes against the gender restrictions and patriarchal norms. She is a feminist and womanist who thinks for women and talks about their empowerment in society, family and state.

Trauma manifests in many things, including the oppressive weight of patriarchal norms, the suppression of individual voices, and the psychological impact of societal expectations. These authors critically examine the systemic pressures which inflict deep-seated wounds upon women, and are manifested as internal conflicts and external struggles for autonomy by women. In Margaret Atwood’s works, female protagonists frequently navigate environments marked by male violence and exploitation, employing psychological defenses to process their suffering before embarking on a transformative journey towards self-reclamation. Specifically, in The Handmaid’s Tale, Atwood shows the extent of identity loss that the handmaids are stripped of their names. “My name isn’t Offred, I have another name, which nobody uses now because it’s forbidden” (Handmaid’s Tale 3).Atwood explores the intricate relationship between individual memory and societal control, demonstrating how the protagonist Offred utilizes personal recollections to maintain her sense of self amidst Gilead’s systematic attempts to erase her identity. This struggle for self-preservation through memory and resistance against oppressive systems is a recurring motif in Atwood’s works, often highlighting the specifically female nature of these struggles, such as issues surrounding reproductive rights and societal objectification (Banurekha and Abhinya). Atwood’s narratives consistently feature female protagonists who, despite their individual circumstances, actively resist victimhood by finding unique ways to assert their agency and challenge the patriarchal structures that seek to diminish them (Banurekha and Abhinya) ( Jaisy). We see Offred being subjected to gender-based oppression, violence, and objectification. Yet, she subtly defies these constraints through her passive rebellious acts like trying to maintain her autonomy by preserving the memories of her family. Furthermore,in Surfacing, Atwood intricately weaves the themes of environmental degradation and gendered oppression, portraying them as co-dependent systems of domination, where women’s bodies and the natural world become parallel sites of control and commodification ( Muthuswamy and Venkateshkumar). Atwood’s narratives delve into the fragmented psyche of her female characters , often caused by the female subjguation that they face, they have to reconnect with their past to make themselves whole again or to fight the demons of their past and overcome them. This fragmentation often stems from the deceptive patriarchal ideologies that diminish women’s autonomy and the sense of self. Offred, for instance, reclaims her fragmented self through storytelling and her monologues, critiquing the Gileadean propaganda and asserting her individuality. Her internal monologues serve as a critical tool for mental survival, allowing her to resist the imposed subjugation and maintain a semblance of her former identity

The profound psychological impact of such systemic subjugation necessitates a rigorous examination of the coping mechanisms and resistance strategies employed by these protagonists. The narrative often functions as a critical medium for these women to articulate their experiences and reclaim themselves within the oppressive structures.

Kiran Desai in her novel, ‘The Inheritance of Loss’ shows how trauma and displacement profoundly affect the identities and futures of its female characters, illustrating their arduous journeys toward self-discovery amidst postcolonial anxieties. Her protagonists grapple with both personal and collective traumas, revealing how gendered experiences intertwine with broader socio-political dislocations to shape their inner lives and external realities. “Could fulfillment ever be felt as deeply as loss?” (Inheritance of Loss 3)

This poignant question encapsulates the existential dilemmas faced by Desai’s characters, who are often caught between cultural expectations and personal aspirations. In her Novel, characters like Nimi, the judge’s wife went through abuse. “He beat her with a brass vase. She was never the same again”(Inheritance of Loss 186).

This line highlights the impact that abuse has on women and the subsequent changes that come with it. Nimi was beautiful and rich, Jemubhai, took advantage of the dowry money and yet he did not even treat his wife as a human being. Once he hurled her face in the toilet. whenever he met her, she had gone through phases of abuses and his ultimate decision to never see her brings her even more misery. She was neglected and abused. This systemic mistreatment, including marital violence and abandonment, leaves indelible psychological scars, illustrating how patriarchal structures inflict lasting damage on women’s sense of self-worth and agency. Such portrayals underscore the pervasive nature of gender inequality, where women are often confined to subordinate roles and subjected to various forms of exploitation, including psychological, economic, and sexual abuse. These profound and multifaceted traumas necessitate resilient coping mechanisms, which often manifest as internal resistance and a determined pursuit of self-redefinition against oppressive societal norms (Devraju) ( Sharma and Chouhan). The female characters in Desai’s works frequently navigate the complexities of cultural hybridity and identity crises, often reflecting the broader post-colonial struggles for self-definition in a globalized world (Tennyson) .

Desai through Sai shows the generational gendered changes. The changes are albiet subtle but Desai has shown these tranformations. Sai, though more educated and modern, still grapples with gendered expectations. Her romance with Gyan exposes the fragility of her autonomy in a society where women’s choices are often undermined. Her experiences highlight the subtle yet persistent ways in which patriarchal norms continue to influence even seemingly liberated women, forcing them to negotiate their desires within established societal frameworks (Desai). Her attempts to assert independence are frequently met with resistance, underscoring the enduring societal pressures that circumscribe female agency even in contemporary contexts.

Arundhati Roy also exposes the Indian society’s fragility when Ammu falls in love with Baba. This transgression of caste and social boundaries leads to tragic consequences, illustrating how societal rigidity and patriarchal control restrict women’s emotional and physical freedom, ultimately shaping their destiny. Roy’s novel The God of Small Things further underscores how societal prejudices and patriarchal systems contribute to the trauma experienced by women, often through the lens of forbidden love and its devastating repercussions on female protagonists. The tragic narratives of Ammu and other female characters reveal how the intersection of gender, class, and caste often subjects women to systemic oppression, leading to profound personal and intergenerational trauma. Her relationship with Velutha, an Untouchable, challenges the deeply entrenched caste system, highlighting the intersection of gender and caste as sites of resistance (Chacko 2000 and Nair 2002).

“She’s a woman. She’s not allowed to decide what she wants” (The God of Small Things 45). This statement profoundly encapsulates the pervasive subjugation experienced by women within rigidly hierarchical societal constructs, wherein patriarchal norms systematically curtail individual agency.

Rahel navigates a different path. She modern, independent well eduacted but still bears the scars of this societal conditioning, manifesting in her struggles with relationships and a pervasive sense of displacement. She does get married to a man but she struggles with emotional intimacy. She recognizes that Larry loves her, and she accepts the void that exists in her marriage.

“He couldn’t understand her. She couldn’t explain. They didn’t agree on things” (The God of Small Things 20). Their inability to bridge this communicative chasm underscores the profound alienation that can arise even within intimate partnerships when fundamental understandings of identity and desire diverge, a consequence often exacerbated by the entrenched societal pressures impacting female autonomy.

In The God of Small Things, the female characters, including Mammachi, Baby Kochamma, Ammu, and Rahel, despite their intellect and affluence, are unable to achieve their full potential due to a system of oppression rooted in gender. She understands the profound impact of her mother’s ostracization on her own capacity for connection, highlighting the intergenerational trauma inflicted by societal strictures. This intergenerational trauma, exacerbated by societal judgments and restrictive norms, manifests as a perpetual struggle against systemic oppression, impeding the women’s achieving their full potential and well-being (ALI).

Specifically, the analysis delves into how these authors utilize distinct narrative techniques to portray the psychological impact of trauma, often linking individual experiences of distress to broader socio-political injustices (Abubakar, 2017). Moreover, this section explores how the authors’ representational choices, particularly concerning gender and sexuality, contribute to a nuanced understanding of trauma within marginalized communities, thereby offering fresh insights into the intricate interplay of power and vulnerability (Ranga & Prasad, 2025). For instance, Atwood’s *Surfacing* explores the protagonist’s journey of individuation, directly linking her psychological recovery from past traumatic experiences to an introspective exploration of her unconscious mind (González Hernández, 2015) (Heidarizadeh, 2015). Desai, on the other hand, through characters like Bim, explores the enduring nature of trauma within familial structures, highlighting how intergenerational patterns of abuse and societal expectations shape feminine identity within traditional contexts (Kumar, 2024). Roy further complicates this by depicting characters, such as Rahel, who navigate complex socio-political landscapes where caste, gender, and historical legacies profoundly impact their identity and choices, underscoring the pervasive influence of societal and familial pressures (Kumar, 2024). This analytical framework further extends to examining how these authors, through their distinct literary styles, dismantle hegemonic narratives concerning gender and sexuality, advocating for more inclusive and equitable societal visions (Ranga & Prasad, 2025). Through their narratives, these authors collectively illuminate the intricate connections between personal suffering and systemic inequalities, advocating for a deeper understanding of how trauma permeates individual and collective consciousness (Heidarizadeh, 2015).

Discussion

The discussion section will elaborate on the implications of these findings, drawing connections between the narrative techniques and thematic concerns identified in the results section to broader theoretical frameworks concerning trauma studies, postcolonial literature, and feminist theory. Specifically, it will explore how Atwood, Desai, and Roy contribute to an understanding of trauma not merely as an individual psychological phenomenon, but as a deeply embedded socio-political construct shaped by historical oppressions and power imbalances.

And how these traumatic experiences, specifically of women, pave the way for a more nuanced approach where women realize that their sufferings wouldn’t end until and unless they change themselves. They take charge, and they resolve their traumas. This profound understanding is clearly shown in the generational changes that women see. Rahel and Ammu’s situation is different but the inherent trauma remains the same This cyclical nature of trauma across generations underscores the need for profound societal transformation rather than individual adaptation, suggesting that collective action is essential for true liberation from oppressive structures. Moreover, the enduring effects of Partition, as depicted in various literary works, highlight how historical events continue to shape the traumatic experiences of women, emphasizing the need for a comprehensive understanding of their lived realities.This literary analysis delves into the psychological underpinnings of female protagonists, revealing how characters like Mariam and Rahel internalize their mothers’ trauma, perpetuating cycles of self-perception influenced by gendered oppression and cultural exclusion (Işık, 2025). This intergenerational transference of trauma not only molds their individual identities but also reflects broader societal narratives where women’s worth is often defined by their roles within patriarchal structures (Kumar, 2024).

Furthermore, the psychological exploration of these characters often reveals a fractured self, necessitating an internal journey toward self-knowledge and integration, much like Jungian individuation, where protagonists reconcile conscious and unconscious elements to achieve wholeness (González Hernández, 2015) (Banurekaa & Abinaya, n.d.).

Result and Findings

This section presents the findings from the textual analysis, highlighting recurrent thematic patterns and narrative strategies employed by Atwood, Desai, and Roy in depicting trauma and the struggle for equality. A critical examination of these literary works reveals how deeply ingrained societal structures exacerbate personal suffering, simultaneously illuminating the resilience and agency of characters striving for liberation.

Anita Desai has focused on the psychological nuances of her characters, delving into their inner lives and frustrations within a changing societal landscape. Her protagonists often grapple with neurotic conditions arising from an inability to adapt to harsh realities, leading to psychological disturbances whether they react aggressively or compromise with their situations

Atwood’s female charcters often grapple with deeply personal traumas such as abuse, imprisonment, and objectification, which underscore the broader societal pressures faced by women.

Conversely, Kiran Desai’s protagonists frequently navigate the trauma of displacement and cultural alienation, revealing the profound psychosocial impact of globalization and postcolonial identities on individuals. In contrast,

Arundhati Roy’s literary contributions explore the pervasive trauma inflicted by systemic injustices, including caste discrimination and environmental degradation, demonstrating how deeply rooted societal structures perpetuate cycles of suffering and inequality.

Conclusion

These narratives, through their poignant portrayal of female suffering and resilience, highlight the critical need for gender equality as a means to alleviate the deep-seated trauma inflicted by patriarchal structure. Roy intricately weaves the stories of three generations of women—Baby Kochamma, Mammachi, Ammu, and Rahel—to highlight the difficult situation of women in post-colonial nations, demonstrating how their social positions were profoundly affected by the legacies of imperialism and the British colonizers’ oppressive humanitarian missions. This intergenerational trauma, exacerbated by societal judgments and restrictive norms, manifests as a perpetual struggle against systemic oppression, impeding the women’s achieving their full potential and well-being.

The women writers by highlighting the generational changes in the autonomy of women show the changes that have occurred over time and the need for continued advocacy to achieve full gender equity.

Atwood, Desai, and Roy, bring trauma and gender equality to the forefront of their narratives, using literature as a powerful space to explore the collective loved experience of women under the oppressive systems of patriarchy. Their works emphasise that trauma is not just a personal or psychological issue but also a reflection of broader social, cultural and political forces that affect women. By portraying trauma as a product of patriarchy and postcolonial structures, these authors challenge the traditional approaches and call for a more inclusive understanding of healing. Their narratives emphasize that true empowerment requires both personal recovery as well as dismantling the systems that perpetuate harm. These authors use fiction to amplify women’s voices, confront systems that perpetuate harm and envision a future where healing is tied to equality and liberation. They bring trauma to a center stage as a feminist and political issue making a strong case of empowerment of women through narrative and structural change.

References

Abubakar, Sadiya. “Art as Narrative: Recounting Trauma through Literature.” IRA-International Journal of Management & Social Sciences (ISSN 2455-2267), vol. 8, no. 1, Aug. 2017, p. 118.

ALI, Yaseen. The Politics of Feminism in the Eyes of Postcolonial Studies. DergiPark (Istanbul University), July 2021.

Atwood, Margaret. The Handmaid’s Tale. Toronto, Ontario: McClelland Steward Ltd, 1985.

_____ and J. Brooks Bouson. Critical Insights. 2013.

Banurekaa, S., and S. Abinaya. Emerging Women in Margaret Atwood’s Select Novels.

Barman, R. P. Exploring Feminine Identity Challenges in Anita Desai’s Fiction. SSRN Electronic Journal, Jan. 2024.

Chacko, M. Caste and Gender in Arundhati Roy’s The God of Small Things. Economic and Political Weekly, Issue 35 volume 42, 2000. PP, 3745-3750.

Desai, Kiran. The Inheritance of Loss. Penguin, India. 2006.

Devaraju, Vanitha. The Theme of Loss and Grief in Shashi Deshpande’s Small Remedies. Smart Moves Journal Ijellh, Vol. 6, no. 10, Oct. 2018.

González Hernández, Ma Lourdes. The Mapping of the Self. 2015.

Heidarizadeh, Negin. “The Significant Role of Trauma in Literature and Psychoanalysis.” Procedia – Social and Behavioral Sciences, vol. 192, June 2015, p. 788.

Jaisy, D. L. An Eco-Feminism: A Study OF Margaret Atwood’s The Handmaid’s Tale. 2018.

Kumar, B. Magesh. “Exploring Feminine Identity: A Comparative Analysis of Female Protagonists in Anita Desais- Clear Light of Day and Arundhati Roys- The God of Small Things.” International Journal for Research in Applied Science and Engineering Technology, vol. 12, no. 6, June 2024, p. 1670.

Mutuswamy, Priyadarsini, and Venkateshkumar. “Roots of Ruin: Ecofeminist Echoes of Environmental and Gendered Subjugation in Margaret Atwood’s Dystopias.” International Journal For Multidisciplinary Research, vol. 7, no. 3, June2025.

Raman, P. and Kumar. The Language of Rebellion: A Study of Arundhati Roy’s Narrative Techniques. International Journal of Literature, Volume 22, Issue 3, 2021. PP, 395-410.

Ranga, R., and Pushkala Prasad. “The Politics of Representing Gender and Sexuality in Arundhati Roy’s Selected Books.” World Journal of English Language, vol. 16, no. 1, Sept. 2025, p. 305.

Sharma, Divyani, and Swati Chauhan. “Portrayal of Patriarchal Subjugation of Women in the Selected Works of Anita Nair.” Rupkatha Journal on Interdisciplinary Studies in Humanities, vol. 15, no. 5, Dec. 2023.

Tennyson, M. E. “Cultural Hybridity and Identity Crisis in The Inheritance of Loss.” Studies in Social Science & Humanities, vol. 3, no. 7, July 2024, p. 37.

Wangmo, Thinley, and Margaret Atwood. The Fall of Women under the Masculine World and the Rise of Women through the Awakening of Feminist Instinct in Surfacing by Margaret Atwood. Apr. 2018.

Women and Resistance in Arundhati Roy’s *The God of Small Things*. *Journal of Feminist Literary Criticism*, 4(1), 45-59. [19] Raman, P. (2021).

Nair, A. Love and Loss in Arundhati Roy’s The God of Small Things. Indian Literature Quarterly, Issue 6, Volume 2) 2002. PP, 105-119.

Interdisciplinary Study of Margaret Atwood’s Novel Surfacing

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VarshaPatil

Department of English,

JET’sZ.B.Patil College, Dhule-424002 (MS)

E-mail: varshapatil.vp.100@gmail.com

Abstract:

Margaret Atwood’s novel Surfacing is a landmark novel in Canadian literature. It presents a richly layered narrative that lends itself to interdisciplinary interpretation. The paper examines the novel through the critical frameworks of eco-criticism, gender studies, psychoanalytic theory, postcolonial discourse and mythological studies.The young and unnamed protagonist comes back to Northern Quebec, the wilderness in search of her father who disappears. Her journey into the Quebec wilderness in search of her father transforms into a search for her identity. The novel throws light on gender oppression, cultural imperialism, environmental problems and psychological issue. Surfacing is immensely relevant in the present scenario of environmental crisis, gender oppression and cultural crisis. Atwood proposes that authentic survival necessitates confronting truth, reclaiming fractured identity and restoring an ethical relationship with Nature.

Keywords:Interdisciplinary studies,eco-criticism, psychoanalysis, mythological studies

Research Objectives:

To examine Surfacing through an interdisciplinary framework.
To analyze the representation of ecological consciousness.
To investigate the critique of patriarchal structures within the narrative.
To explore the psychological dimensions of repression, trauma, and self-recovery as reflected in the narrator’s journey.
To evaluate the novel’s engagement, its critique of American cultural imperialism.
To examine the mythic and archetypal patterns that structure the narrator’s symbolic descent and rebirth.
To show how survival operates as a multidimensional concept, encompassing ecological responsibility, gender autonomy, psychological integration, and cultural sovereignty.

Introduction:

Margaret Atwood is the most distinguished contemporary Canadian novelist, poet,environmentalist and human activist. Her novel Surfacing was published in 1972. It was a period during which second wave feminism was at the height of its momentum and influence.The novelSurfacing throws light on the social- political issue of the late 20^thcentury, such as the environmental degradation, second wave feminism, Canadiannationalism.The young and unnamed protagonist comes back from Toronto to Northern Quebec, the wilderness to search for her father, who disappears. Her friend, DavidAnna and Joe have accompanied her. She is a commercial artist. She has come back to Northern Quebec Bush after 9 years. Her coming to the wilderness becomes the arena, for her psychological crisis and regenerative self-realization. It function as the locus of her psychological fragmentation and eventual integration.

An interdisciplinary reading of thenovel Surfacing foregrounds its structural and thematic complexity.Surfacing emerges as a dynamic narrative that operates andconceptualizesmeaning on multiple levelssuch as ecological consciousness, gender theories, postcolonial unease and mythic symbolic coverage.The novel’s central motif is survival which goes beyond physical endurance.It encompasses ecological accountability, psychological reconciliation and cultural sovereignty. It critiques environmental exploitation, gender oppression,cultural imperialism, and psychological suppression.

Annis Pratt a feminist archetypal criticconsiders the novel in terms of “a quest for rebirth and transformation”.Prof.CoomiV.Vevaina from University of Mumbai, India discusses the novel from”Jung’s psychoanalysis”.To SushilaSingh, the novel is “a significant nationalist and feminist work of art”. Russell Brown finds in Surfacing “implications of the artist in the myth-makingprocess”.Surfacing has been interpreted by applying various disciplines.

Interdisciplinary study of Surfacing enables to analyse the text by applying multiple theoretical lenses such as humanities, social sciences, environmental studies, psychology, gender studies. The synthesis of these theoretical frameworks enable more comprehensive understanding of Atwood’s strategy.

Eco-criticism studies the representation of Nature. It also studies the relationship between Nature and human beings. The northern Quebec wilderness brings about the protagonist’s transformation and self- realization. The dead heron symbolises cruelty done towards Nature. The crucificationimagery reminds us of religious sacrifice. The dead heron symbolizes ecological violence .By doing harmfulact the human world is alienated from the natural world. The gulf between these two worlds becomes increasingly pronounced over time. She criticises the Americans who fish and litter in the lake. To her this act symbolizes capitalistic exploitation.

The novel Surfacing advances, a sustained critic of American imperialism, representing it as a force that commodities and victimizes the natural world. The protagonist identifies herself with the Nature. She says:

I am not an animal or tree, I amthe thingin which the trees and animals move and grow. I am a place. (236)

The mystical assertion signalsrepudiation of anthropocentric supremacy as she reconceives herself as an organic participant within a broader ecological continuum.

To become one with the Nature, she renounces everything. She rejects clothing and canned food. She comes back to the Nature, which enables her to regain her wholeness andrealize her strength. Her stay on the Northern Quebec Island enables her to regain her consciousness of victimization of natural elements. The lake symbolizes the ecological depth. The narrator’s dive into the lake is the symbolic immersion into primordial origins. The landscape is polluted and destroyed by the colonisers, the Americans. She feels that the act of eating of the herons is an exercise of power.

Her search is the search for herself, identity.She rejects to be victimized. Psychoanalysis interprets the novel as narrative of separation. The protagonist looks ather relationship with art teacher as a blow from patriarchy. She sacrifices everything for him. The art teacher seduces her and makes her pregnant. The forced abortion keeps her always restless. She considers herself as a murderer and suffers from a guilt consciousness. She says:

But I bring with me from the distant pass five nights ago, the time traveller, the premaevalone who will have to learnshape of a goldfish now in my belly, undergoing its watery changes.Word furrowspotential already in its proto-brain untravelled paths (249).

She is no more than a dead onedue to the act of an enforced abortion. She feels that her ‘self’ has been divided into two halves. After this betrayal and forced abortion, she decides to live on the Northern Quebec Island to forget the past and its memories.

Postcolonial criticism examines power relations between the colonizers and colonized.The American tourists in Surfacingsymbolizecultural imperialism. She observes them who reduce the sacred landscape to a resource for consumption. They pollute the lake. The wilderness is Canadian identity, which is threatened by technology, moral corruption and capitalist expansion.

The quest of the protagonist is a mythic quest. The lake functions as a womb. Her dive into the lake symbolizes immersion into the womb. Her coming out of waterleads towards the process of transformation. Water purifies her in totality and leads to her survival in the real sense. She is a transformed soul.

The protagonist’s imagination to shed human skinand the repression shows archetypalreturn to origin of life. Her emergence from the wilderness symbolizes the resurrection.

Surfacing is a very wonderful text for interdisciplinary study by applying various disciplines. The novel is a comment on survival, identity and moral responsibility.Through interdisciplinary synthesis Surfacing, conceptualizes survival as a multidimentional construct. Atwood shows that individual,ecological, national healing requires facing truth and cultivating a harmonious relationship with Nature.In the present context of environmental precarity, gender inequalities and accelerating cultural homogenization, Surfacing retains urgent contemporary resonance.

References:

Atwoodb Margaret. Surfacing. London: Virago Press, 2009. Print.
Pratt Annis.“Surfacing and the Rebirth Journey”.The Art of Margaret Atwood:Essays in Criticism. Ed. Cathy N. Davidson and Arnold E.Davidson. Toronto Anansi Press,1981.Print.
VevinaCoomi S. Re/MemberingSelves Alienation and Survival in the Novels of Margaret Atwood and Margaret Laurence. New Delhi: Creative Book, 1996.Print.
Singh Sushila. Joyce Carol Oates and Margaret Atwood: Two Forces of the Two World Feminism. Punjab University Bulletin 18.1(1987) Print.
McCombsJudith.Critical Essays on Margaret Atwood.Boston: G.K.Hall,1988.Print.
RigneyHill. Madness and Sexual Politics in the Feminist Novel: Studies in Bronte,Woolf,Lessing and Atwood. Wisconsin: University of Wisconsin, 1978.Print.
MalashriLal. “Canadian Gynocritics: Context of Meaning in Margaret Atwood’s Surfacing”. Perspectives on Women: Canada and India. Ed.AparnaBasu.New Delhi: Allied Publishers,1995.Print.

The Glimpses of Human Rights and Society in the Novels “Untouchable” and “The God of Small Things”

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Dr. Ravindra Ramdas Borse

B.P.Arts, S.M.A. Sci. and K.K.C. Com. College, Chalisgaon

Email: ravindraborse1@gmail.com

ABSTRACT

The present study aims to observe the role of human rights in the societies before and after the independence India. It is studied through the novels of Indian writing in English. Here, it is an attempt to study, discuss and find out the reflection and violation of human rights in Indian society during pre-independence and post-independence period through the Indian fiction in English with reference to the selected novels of Mulk Raj Anand and Arunthati Roy. For this study two novels have been selected, first is “Untouchable” and another one is “The God of Small Things”. Selection of these writers and novels is based on the particular principles and thoughts. The basic criterion of selecting these writers and novels is the issue of “Human Rights”. Both the novels belong to two deferent periods of Indian history still they have a common theme that is humiliation of mankind and violation of human rights in the society. As we know that Mulk Raj Anand is the pioneer of Indian writing in English. He is an eminent writer in the history of Indian English Fiction. He is the first Indian writer who dared to write and raised the voice of deprived people in pre- independent India. On the other hand, Arundhati Roy is an author who belongs to post- independent period of India. In her novel, she tries to show the real picture and approach of Indian literate society and its people towards the poor and backward people through the depiction of Indian cultures and societies. In her novel “The God of Small Things”, she depicted the real picture of Indian people and their approach towards the illiterate and backward class people.

Above mentioned novels have been selected on the basis of following principles:

1. Both the novels focus on different cultures with common agenda.

2. The selected novels depict the plight and pathetic condition of downtrodden people in Indian society before and after the independence.

3. The writers of these novels have concern for underprivileged people.

4. Violation of human rights has been keenly depicted by these authors in above mentioned novels.

5. There is an ample scope for the study of human rights and its violation in India as shown in said novels.

KEYWORDS:

Deprived, underprivileged, downtrodden, human rights, backward, literate, illiterate, pre-independence, post-independence, plight, caste, creed, culture, multi-cultural, multi-lingual.

INTRODUCTION:

“Human Rights” are rights which have been offered to all human beings by birth with the purpose and aim of no discrimination. Without ‘Human Rights’ it’s impossible to the people to leave their life merrily. Each and every member in society needs of it. It helps all the human beings to live with freedom and peace. “Human Rights” can be considered as a basic rights or fundamental rights which have been offered to every individual. These rights are crucial in our life just like the ‘Food’,’ Cloths’ and ‘Shelter’ as the three basic needs of every human beings. Human rights have special significance in India and it also plays a vital role in the country like India. Role of ‘Human Rights” in a country like India is quiet complicated because it’s a large country in the world where people from different caste, culture and religion.

Role of ‘Human Rights” throughout a country like India is quiet complicated because it’s huge country within the world where people from different caste, culture and religion live together.

There are some other issues like population, poverty and lack of education which affect the proper implementation of human rights in India. The true beginning of “Human Rights” can be noticed on 10^th December 1948 at Paris. It is a year when United Nation’s General Assembly accepted and implemented the proposal of ‘Human Rights’ for world. But in India, it has been taken into consideration and implemented on 2^nd October 1993. An aim of ‘Human Rights Commission of India’ is to stop manipulation of Indians by the bureaucracy and safeguard the rights of common people.

As we know, India is multicultural and multilingual country in which people belongs to different caste, culture, community and creed still they live together. Above discussion makes it cleared that India is multi-lingual and multi-culture country. Due to these multi-culture and multi-lingual societies in India there is a chance and possibility to discriminate among the people of high caste and low caste. It has been noticed and observed from the past references that Indian society (in the context of Hinduism) had been divided into class / caste system (Vernas). The people were categorized into four classes / castes (vernas) such as: 1. Brahmin, 2. Kshatriyas, 3. Vaishyas, 4. Shudras. This class or verna system has at less or maximum level been continued in pre and post- independence India which we can notice in society and even in Indian writing as well. The incidents of ‘Human Rights violation in society’ are truly presented in the literary works of Mulk Raj Anand and Arunthati Roy. Number of words and sentences in “Untouchable” and “The God of Small Things” shows it in a cleared manner. For example, the words “Bhangis (Anand, p. 123), Chamars (Anand, p. 132), Harijans (Anand, p. 131) were used in contemporary period for deprived people of society to humiliate them by calling them with the use of their castes. To prove this point we can go through the novel “Untouchable” in which one can find number of examples of such discrimination among the people by the so called upper class society in Indian history from beginning to the present era by reading Indian literature. Indian literature is a mirror of society which reflects and represents Indian society, specially marginalized communities. In this context, the novel “Untouchable” and “The God of Small Things” are appropriate examples of deprived people. These writers shade lights on human rights’ violation in society through their respective novels. The characters sketch of the “Bakha” in ‘Untouchable’ and “Velutha” in ‘The God of Small Things’ are real depiction of underprivileged class in India. The themes of these novels move around these characters only. As we go through the reading of these novels it’s noticed that there is no life, freedom, peace and choice to lower class people in society as every incident in the novels present exploitation and humiliation of characters. Both ‘Bakha and Velutha’ are victims of caste system. Mulk Raj Anand and Arundhati Roy aim to reflect caste system and violation of human rights of these people in India in contemporary periods through the character sketches ‘Bakha and Velutha’. Mahatma Gandhi insisted and asked Mulk Raj Anand to give exposures to the plight of lower class communities in pre-independent India during 1930s. Casteism was a kind of disease in India. Even today, it has been continued in more or less amount directly or indirectly. Lower class people were suppressed by upper class not only by mental torture but also physically and socially. In this regard C.J. George says, “Casteism is a social practice and no Hindu religious leader of any merit and significance would admit it as part of his religion. Giving a place to casteism in Hindu religion is done by certain wolves in sheep’s skin for certain privileges and advantages” (p.40).

Human Rights and Literature (The novels under consideration):

Human rights and literature both are concerned to the human being and play crucial role in society. Progress and development of mankind is the common agenda of human rights and literature. Literature and human rights are age old concepts. The purpose of both of them is to shade light on human life and bring illiterate downtrodden people in to the flow. Thus, we can state that literature and human rights are two different things with same motto. Both try to develop and correlate to mankind. These two are the sources of the study and solutions to human challenges and issues of lower class such as exploitation and manipulation. Human rights and literature are the terms which harmonizing to one other. Therefore, it is necessary to discuss these terms simultaneously. Indian English literature has a tradition of raising issues of contemporary eras. Hereby, an attempt to study human rights perspective through the novels ‘Untouchable’ and ‘The God of Small Things’.

The novel “Untouchable is written by Mulk Raj Anand in 1935. It has been set in pre-independent India. The setting of the novel is of one day episode from morning to evening in which number of events can be observed in the life of low caste communities in colonial period of India. Mulk Raj Anand is one of the pioneers of Indian English Literature who often raised the point of subaltern people through all of his literary work. He is considered a champion of human rights as he depicted the true picture of human psyche in his literary pieces. The very first work of Mulk Raj Anand’s is ‘Untouchable’ where he pointed out the pathetic condition of marginalized people in society who have badly been treated in the Indian community by upper class. The story revolves around the prominent character ‘Bakha’. He is the man who has been fascinated by the upper class people in society. He just tries to imagine and imitate the upper class military officers life for oneself which highly impossible during the colonial India. We can notice the situation of it from the opening lines of the novel which gives us a vivid picture marginalized community and violation of their basic rights in the contemporary period. It can be cleared from the beginning lines of the novel “Untouchable”. The colony of these out caste people was settled in two rows near the cantonment in the town but out of the reach of upper class colony. The upper class people separated their colonies from the marginalised. There lived the scavengers, the grass-cutters and other outcastes from Hindu society” (Anand, p.1). Here, one can get an idea from the quote, how the place of living and the people who have been privileged were differentiated and poorly treated. During the pre-independence period lower class people were not allowed to join or sit with upper class people and it could be the reason of illiteracy and cause of lacking behind in lower class. Because they have never been allow to get an education or join the stream of knowledge which was the only right for upper class society. Education and performing prayers’ to God are the birth rights of upper class only. It was the tendency of upper class people towards lower class. Once Bakha was attracted by the worship “Sri Ram Chandarki Jai” (Long live the Great God Ram) (Anand, p.52). He was fascinated and moved at temple but was caught by the priest who shouted “Polluted, polluted, polluted”(Anand, p. 52). Lower caste people were not allowed to enter in the colonies of upper class. If he had to do so then must announce his arrivals.

“You be sure to shout now, you illegally begotten!” said a shopkeeper from a side, ‘if you have learnt your lesson!’ Bakha hurried away. He felt that everyone was looking at him. He bore the shopkeeper’s abuse silently and went on. A little later he slowed down, and quite automatically he began to shout: ‘Posh keep away, posh, sweeper coming, posh, posh, sweeper coming, posh, posh, sweeper coming!’ (Anand, p.42)

These lines appropriately express the plight and humiliation of Bakha in the novel Untouchable. Mulk Raj Anand in his novel clearly focuses on the treatment of upper class towards untouchables. Each and every page contains number of events that point out violation of human rights. In the novel ‘Untouchable’, it is noticed that even simple touch of untouchable impure the upper class man. “You’ve touched me, he had heard the Lalla say to Bakha, ‘I will have to bathe now and purify myself anyhow. Well, take this for your damned irresponsibility, you son of a swine!” (Anand, p.41). These lines show the mentality of so called upper class during colonized India. Untouchables were supposed to do all the menial work for upper class that is the only thing. In this way, Anand not only tries to sheds light on the upper class people’s attitude towards the lower class but also it is the violation of human rights of untouchables. On the other hand, though Arunthati Roy is a writer of post-independence era but reflection of downtrodden still observed in her novel “The God of Small Things”. The novel has been written in 1997 after the four years of establishment of ‘Human Rights Commission in India”. As we understand the background and professional life of Arundhati Roy it seems quite different to the way she has deal with the theme of “The God of Small Things”. The novel first published in the month of April of 1997 and received “Booker Prize” in the month of October of the same year. Within a short period of six months’ time she got an award for her novel. This is a rarest case in Indian history. It shows the prominence of the theme and her writing. By profession she is architecture and worked as a production designer. The theme and issues of Arundhati Roy’s novel are quite different from the other Indian writers in English. She began her writing carrier after getting separated from her husband after the four years married life. The novel “The God of Small things has its own place in Indian English literature. In the novel, she shades light on the current social issues of marginalized people. Through this novel, she provides exposure to these people and gives a platform to such people. She often tries to bring them in main stream of society as it has been noticed in the novel “The God of Small Things”. The plot of the novel begins with oppressive system of the society. There are two prominent issues we can notice here: one is caste exploitation in the contemporary period after the post-independent India and the second is the love story of a woman of upper caste who fallen in love with untouchable man. The setting of the novel is of Ayemenem, a small city in Kerala. The aim of the writer is to fight for equality and dignity of lower castes and classes in the society. Number of issues of human rights been discussed by her in the novel such as: children’s right, rights of women, rights of Dalit, right to select life partner for marriage and domestic violence.

Conclusion:

To sum up, the present paper is an attempt to sheds light on ‘Human rights and Literature’. Both the elements play crucial role in the life of people and society as well. “Human Rights and Literature” are interconnected and effective elements to understand psychology and traditionally biased mind set human being. At the one side, ‘Human rights’ is the study and guideline for people of society to live their life happily. On the other hand, ‘Literature’ can be strongly considered the manifesto of people in society. Apart from this, one can study, read and observe these novels for the better understanding of human rights and its violation. One can consider these novels as documents of human rights study and also the mirror which shows the real picture of upper class society and their tendency towards lower class. Reading of both the novels helps us to know ‘human rights and violation of it’ through literature as an outcome of society. Thus, it is noticed that the aim of Mulk Raj Anand and Arundhati Roy’s writing is to bring awareness among people of the society about the violation of human rights in real life situations.

REFERENCES:

Agnihotriet al. Trends in Indian English: A Sociolinguistic Perspective. New Delhi: Bahari Publications Pvt. Ltd., 1988.
Anand, Mulk Raj. Untouchable. New Delhi: Penguin Books, 2001.
Basu, Tapan, Translating Caste. New Delhi: Katha 2002.
Baxi, Upendra. The Future of Human Rights.Third Edition. New Delhi: Oxford University Press, 2008.
Baxi, U.Voices of suffering and the future of human rights.Transnat’l L. & Contemp. Probs., 125, 1998.
Benedek, W..Understanding Human Rights: Manual on Human Rights Education.BWV, Berliner Wiss.-Verlag, 2013.
Boggards, P. Dictionaries for Learners of English.International Journal of Lexicography, Vol.9, No.4. 1996.
.Chakrabarty, Koyel and Beniwal, Anup.“Human Rights and Literature: A Complementary Study in Indian Fiction in English.”International Journal of the Arts in Society.Vol.3. No.5. Common Ground Publishing Ltd. Melbourne: 2009:23-33.
Chakrabarty, Koyel. The Problematics of Human Rights in Indian Fiction in English.Unpublished Ph. D. Thesis. New Delhi: Guru Gobind Singh Indraprastha University, 2011.
Choondawat, P. S. “Untouchability and Untouchable Youth: A Study in Urban Context” in Singh R. (ed.) The Expressed Classes of India: Problems and prospects. New Delhi: B.R., 1986.
George, C. J. Mulk Raj Anand: His Art and Concerns. New Delhi: Atlantic, 2000.
Hudson, R. Socio-linguistics. Cambridge: Cambridge University Press, 2007.
Iyengar, K. R. S. Indian Writing in English. Bombay: Asia Publishing House, 1962.
Roy, Arundhati.The God of Small Things. New Delhi: Penguin Books, 2002.

Analysing the Perception of Violence in Walker’s Short Story Collection In Love and Trouble: Stories of Black Women

Daily writing prompt

Have you ever unintentionally broken the law?

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Dr. Ireshadsaheb Usmansaheb Shaikh

U. P. Arts and Science College, Dahiwel, Dhule (M.S.) Dec. 2025

ireshad.shaikh11@gmail.com

Abstract: Alice Walker is a renowned African American novelist, poet, short-story writer, and social activist.She became known worldwide with the publication of her seminal work, The Colour Purple. She is regarded as a radical black feminist author. She propagated her theory of womanism in her stories. Violence is a recurring theme in her stories. Walker’s narratives demonstrate the hardships, tribulations, and dilemmas faced by African American immigrants in the United States. Alice Walker’s short story collections explore the theme of violence, particularly as it relates to women of color during the era of chattel slavery in the United States. Women of colour have historically been subjected to violence by both white and black men. While violence against black women is dehumanising, their resistance offers the possibility of a new identity. Walker exposes the traumatic lives of black women resisting oppression and violence in her short story collections in various forms, such as physical, mental, self-inflicted, and societal violence.

Keywords: Violence, Oppression, Resistance, Resilience, Mammies, Emotional abuse, Sexual harassment.

Alice Walker is a versatile and globally recognised American author, best known for her Pulitzer Prize-winning novel The Color Purple (1982). She is regarded as a radical feminist writer and is known for formulating Womanism, also known as Black Feminism. Walker believed that the feminist movement was primarily owned by white women, leaving little room for women of colour, as white feminists often failed to acknowledge or relate to the experiences of Black women. Along with other Black feminist critics, she helped develop a feminist theory that includes the issues and problems of women of colour. For Black feminists, race and class are as vital as gender is for white feminists. Racial and gender discrimination have equally contributed to the dehumanisation of women of colour, prompting efforts to dismantle racist structures.

A recurring theme in Alice Walker’s short story collection In Love and Trouble: Stories of Black Women(1973) is the testament of the exercise of verbal and physical violence against women of colour in the public and domestic spheres. She lays bare the truth of crafting an image of a Black woman as subhuman, unworthy of empathy, asexual, servile, angry, and bestial. Despite being labelled as inhuman, these women persist in asserting their voices and expressing pride in their cultural heritage. Walker’s narratives demonstrate the hardships, tribulations, and dilemmas faced by African American immigrants in the United States. Through these experiences, Walker’s Black female characters endure racism and ultimately gain the strength to challenge and dismantle oppressive patriarchal structures within American society.

Alice Walker’s short story collections explore the theme of violence, particularly as it relates to women of colour during the era of chattel slavery in the United States. Enslaved women were often subjected to dehumanising stereotypes, being labelled as breeders, mammies, jezebels, hoochie mamas, and sapphires. In her stories, Walker delineates these negative perceptions. Representations of Black women in art, literature, and popular culture have frequently depicted them as strong, masculine, bulky, boisterous, and angry, which has contributed to the notion that they could endure or were susceptible to violence. In the story ‘Everyday Use,’ a mother describes herself as,

“a large, big-boned woman with rough, man-working hands……. I can kill and clean a hog as mercilessly as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open fire minutes after it comes steaming from the hog. One winter I knocked a bull calf straight in the brain between the eyes with a sledgehammer and had the meat hung up to chill before nightfall.” (Walker 46)

A prominent example of colonial and racial exploitation in European history is the case of Sarah Baartman, who was paraded and exhibited half-naked in street shows in London and Paris around 1811. Crowds were invited to observe her body, described as large, uncommon, and erotic, and she was labelled the ‘Hottentot Venus’. After her death, her body parts were preserved in jars and displayed in a museum. This violence was perpetuated by the dissemination of negative images of black women. Baartman’s narrative documents abuse, violence, sexual harassment, and rape. The construction of a false narrative about women of colour was intended to coerce them into inhumane and degrading conditions, thereby normalising violence against them and discouraging resistance. Women of colour have historically been subjected to violence by both white and black men. While violence against black women is dehumanising, their resistance offers the possibility of a new identity. In “Her Sweet Gerome”, the black female protagonist is described as a “big awkward woman, with big bones and hard rubbery flesh” (Walker 26) and endures domestic violence. Her husband physically abuses her and fails to recognise her as an equal partner. She gives him all her money and attempts to conceal the visible marks of abuse with makeup. She married him for his perceived gentlemanly behaviour towards other women and initially felt proud to be his wife, but his actions ultimately contradict this image. Although he is a civil rights activist, he beats her “black and blue” (Walker 27), yet the community continues to regard him as a gentleman.

Walker exposes the harshness of black men even as they fight for their own rights, highlighting the violation of the protagonist’s rights. He never treats her as a wife; when she seeks affection, he responds with violence. He also inherits her father’s money. Despite enduring his violent and abusive behaviour and spending all her resources, she becomes distraught upon discovering his affairs with other women. In her search for the truth, she realises his obsession with the Civil Rights Movement and the black revolution. In a moment of heartbreak, she destroys his books with a knife and sets fire to the bedroom. “Overwhelming with pain,” she hides her face behind her slightly burned hands and “screamed and screamed” (Walker 34).

“The Child Who Favored Daughter” depicts the severe abuse, crime, and violence experienced by women of colour at the hands of both white masters and black men. The narrative centres on the suffering of three women. The story begins with a black man described as “father, judge and giver of life” (Walker 35) who has a daughter named Daughter. In his youth, his sister, also named Daughter, fell in love with his white master, who treated them inhumanely. She is described as “like honey, tawny, wild and sweet,” and her brother cared for her deeply. Despite his pleas, she left with the white man. She later returned, accompanied by another woman’s husband, appearing hysterical and profoundly changed. She had lost her long hair, “her teeth wobbled in her gums when she ate,” and no longer recognised anyone. She sang continuously and was “tied on the bed as she was at the mercy of everyone.” To keep her silent at night, her father beat her with a belt. Eventually, she was found dead on the compound spikes.

The narrative describes a man who, overwhelmed by his emotions, violently abuses his wife, ultimately causing her death and leaving behind a daughter. This daughter, depicted metaphorically as a flower, mirrors her mother’s fate by falling in love with a white man. Upon discovering this, the father subjects her to prolonged physical abuse, as described: “he beats her for a long time with a harness from the stable, and where the buckles hit, there is a welling of blood that comes to be level with the tawny skin, the spill over and falls” (Walker 43). The violence continues the following morning, culminating in further brutality: “he sees her blouse, wet and slippery from the rain, has slipped completely off her shoulders and her high young breast is bare.” In a frenzied state, he “gathers their fullness in his fingers……. he is suddenly burning with unnamable desire……draws the girl away from him pulling off his own arm and with quick slashes of his knife leaves two bleeding craters the size of grapefruits on her bare bronze chest and flings……to the yelping dogs” (Walker 43). Walker poignantly narrates the girl’s traumatic experience, drawing a comparison to flowers and emphasizing her defiance: “flowers pledge no allegiance to the banners of any man” (Walker 44). The story explores the pervasive violence faced by women of colour, particularly within familial and romantic relationships. Walker’s narratives detail the profound suffering of black women as they navigate relationships with fathers, brothers, husbands, and lovers, striving to survive and find meaning within oppressive circumstances.

“The Welcome Table” exposes the racist and violent actions of white individuals toward a poor, elderly Black woman in the American South. The protagonist attempts to pray at a church, but, due to her age and mental state, she does not realise it is a church designated exclusively for white congregants. Convinced that her devotion to Jesus Christ will protect her, she enters, only to be forcibly removed by members of the congregation. She experiences humiliation and injury and is found dead beside the road the following day. The narrative highlights her deprivation of human rights and the community’s indifference to her suffering and the injustice she endures. Similarly, “Flowers” depicts the realities of violence, lynching, and segregation during the Civil Rights Movement. White individuals would often fabricate accusations of rape against Black men to justify lynching, which served as a tool to degrade and dehumanise Black communities. The story follows Myop, a young girl who discovers the body of a lynched Black man, leading to her loss of innocence as she confronts the brutal realities of racial violence. Her stories are poignant and address themes of physical violence, beatings, fear, threats, the threat of rape, lynching, and death.

The story “The Revenge of Hannah Kemmhuff” explores the theme of physical violence. Here, the protagonist, Hannah, is physically abused by her husband, leading to a dramatic and violent confrontation. “Really, Doesn’t Crime Pay?” is another powerful story in Walker’s collection that deals with emotional abuse. The protagonist, Roselily, is trapped in an oppressive marriage with a man who emotionally manipulates and controls her, while another man in her life destroys her creativity by stealing her manuscript of stories. Stories like “Roselily”, “Everyday Use”, “The Welcome Table”, “Strong Horse Tea”, and “The Diary of an African Nun” demonstrate the societal violence, through systemic racism and sexism, confronted by women of colour, making them prone to violence and oppression. Stories like “Entertaining God’ and “We Drank Wine in France” reveal the theme of self-inflicted violence. Walker’s female characters struggle with internalised oppression, leading to self-destructive behaviours.Walker’s stories expose dark realities of the experiences of women of colour, filled with violence and subordination. Her stories attest to the resistance and resilience of women of colour.

Reference:

Allaham, Ali Ahmad. “The Short Story As a Form of Resistance :A Study of the Short Stories of Ghassan Kanafani, Ngugi Wa Thiong’o, and Alice Walker.” 2009, https://core.ac.uk/download/153778714.pdf.
Bagabas, Riham. “Analyzing “The Welcome Table” by Alice Walker from a WomanistPerspective.” 2022.Christian, Barbara. “The Contrary Women of Alice Walker.” The Black Scholar, 1981, pp. 21–71, doi:117.240.50.232. Accessed 4 Dec. 2025.
Collins, Patricia Hill. “What’s in a Name? Womanism, Black Feminism and Beyond.” The Black Scholar, vol. 26, no. 1, 2001, pp. 9–26.
Harris, Trudier. “Folklore in the Fiction of Alice Walker: A Perpetuation of Historical and Literary Traditions.” Black American Literature Forum, vol. 11, no. 1, 1977, pp. 3–8. JSTOR, https://doi.org/10.2307/3041531. Accessed 13 Mar. 2024.
Harrison, Jade M. “The Core Four: An Examination of Contemporary Black Women\U27s Writing in The Norton Anthology of African American Literature.” 2019, https://core.ac.uk/download/635587962.pdf.
Hubbard, Dolan. “Society and Self in Alice Walker’s ‘In Love and Trouble.’” Obsidian II, vol. 6, no. 2, Summer 1991, pp. 50–75. JSTOR, http://www.jstor.org/stable/44485248. Accessed 4 Dec. 2025.
Mickelson, Anne Z. Reaching Out: Sensitivity and Order in Recent American Fiction by Women. Scarecrow Press, 1979.
Morrison, Toni. Playing in the Dark: Whiteness and the Literary Imagination. Harvard University Press, 1992.
Murugan, Seema. The Fiction of Alice Walker: A Study of Black Images. Authors Press, 2008.
Petry, Alice Hall. “Alice Walker: The Achievement of the Short Fiction.” Modern Language Studies, vol. 19, no. 1, Winter 1989, pp. 12–27. JSTOR, http://www.jstor.org/stable/3195263. Accessed 4 Dec. 2025.
Ross, Sinclair. “Racism.” Oxford Reference, Oxford University Press, http://www.oxfordreference.com/display/10.1093/oi/authority.20111012125231893. Accessed 8 Dec. 2025.
Walker, Alice. The Color Purple. 10th ed., Phoenix, 1982.
The Complete Stories. 1994. Phoenix, 2005.
In Search of Our Mothers’ Gardens. Harcourt Brace Jovanovich, 1983.
Weida, Kaz. “Womanism.” Encyclopedia Britannica, 5 Dec. 2023, http://www.britannica.com/topic/womanism.
Winchell, Donna Haisty. Alice Walker. Twayne Publishers, 1992.

Accessed January 6, 2025.

Guidelines for Writing a Book Review

1. Understand the Purpose of a Book Review

A book review is not just a summary—it is a critical assessment. The goal is to:

Inform readers about the book’s content.
Evaluate its strengths and weaknesses.
Situate it within broader literature, themes, or current debates.
Provide a recommendation (whether to read it, and for whom).

2. Before Writing

Read the book carefully: Take notes on themes, arguments, style, and tone.
Research the author: Understanding their background, previous works, and perspective helps contextualize the book.
Identify the genre: Fiction, non-fiction, academic, biography, etc.—the review style will differ slightly.
Know your audience: Academic readers expect critical engagement, while general readers look for clarity, enjoyment, and practical insights.

3. Structure of a Book Review

(A) Bibliographic Information

At the top, provide complete citation details:

Title of the book
Author(s)
Publisher, year of publication
Edition (if relevant)
Number of pages
ISBN (optional for academic settings)

👉 Example:
Smith, John. Urban Futures: Planning in the 21st Century. Routledge, 2023, 320 pages.

(B) Introduction

State the book title and author again briefly.
Introduce the central theme or subject matter.
Mention the purpose of the book (why it was written).
Provide context (e.g., field of study, historical/social relevance).
End with your thesis statement (your overall impression or judgment).

(C) Summary of the Book

Present the main arguments, ideas, or storyline.
Outline the structure: Is it divided into sections, themes, or chapters?
Keep the summary concise—avoid retelling the whole book.
Highlight key themes, concepts, or case studies used by the author.

(Tip: Use neutral language here; save your opinion for the evaluation section.)

(D) Critical Evaluation

This is the heart of the review—your analysis. Consider:

Content & Argument
- Is the argument convincing, original, or well-supported?
- Does the author achieve their stated goals?
- Are there gaps, biases, or contradictions?
Style & Readability
- Is the book clear, engaging, and accessible?
- Is the language academic, technical, or popular?
Evidence & Sources
- For non-fiction: Are claims backed by research, data, or credible sources?
- For fiction: Are characters, plot, and setting well-developed?
Contribution to the Field
- For scholarly works: Does it advance knowledge or challenge existing ideas?
- For general works: Does it add value to readers’ understanding?
Strengths and Weaknesses
- List specific strengths (e.g., clarity, depth, originality).
- List weaknesses (e.g., limited scope, poor editing, lack of balance).

(E) Conclusion

Summarize your key evaluation points.
State whether you recommend the book, and to whom (students, researchers, professionals, general readers).
End with a final thought on the book’s impact or relevance.

4. Writing Style Tips

Be objective: Balance praise with criticism.
Be concise: Usually 800–1200 words for academic reviews, 500–800 for general reviews.
Use evidence: Quote short passages to illustrate points.
Avoid spoilers (for fiction).
Write in clear, accessible language.

5. Checklist Before Submitting

✅ Have you included full bibliographic details?
✅ Does your introduction state the theme and purpose?
✅ Did you summarize briefly without retelling?
✅ Does your evaluation cover content, style, and contribution?
✅ Have you balanced strengths and weaknesses?
✅ Did you provide a recommendation?
✅ Is your review well-structured and free of grammar errors?

6. Common Mistakes to Avoid

❌ Writing only a summary with no evaluation.
❌ Overly praising or dismissing without justification.
❌ Including long quotes instead of analysis.
❌ Ignoring the intended audience of the book.
❌ Making the review longer than the book itself!

7. Sample Closing Lines

“This book is an essential read for scholars of urban studies, though general readers may find its technical language challenging.”
“While the narrative pace is slow in parts, the depth of research makes it a valuable contribution to climate policy debates.”
“Highly recommended for anyone interested in contemporary fiction exploring migration and identity.”

How to Write Stories: A Complete Guide to Crafting Compelling Narratives

Storytelling is as old as human civilization. From cave paintings to oral traditions, epic poems to digital novels, stories have shaped cultures, preserved history, and connected people across time and place. But writing a story that captivates, resonates, and lingers in the reader’s mind requires more than just a good idea—it demands skill, structure, imagination, and emotional truth. Whether you are an aspiring novelist, a blogger, or someone with tales to tell, understanding how to write stories is a foundational step in your creative journey.

1. Understand Why Stories Matter

Before diving into the mechanics, it’s important to understand why stories matter. Stories do more than entertain—they help us make sense of the world, empathize with others, and imagine new possibilities. A well-told story can inspire action, change minds, or simply offer an escape. Writing stories is an act of connection: it bridges the gap between the writer’s inner world and the reader’s imagination.

2. Start with an Idea or a Premise

Every story begins with a spark—an idea, a character, a conflict, or a question. This doesn’t need to be fully formed, but it should be intriguing enough to motivate you through the writing process. Ask yourself: What if? What would happen if a shy librarian discovered a magical book? What would a soldier do if he returned to a world that no longer recognized him?

Ideas can come from anywhere—dreams, overheard conversations, personal experiences, or the news. Keep a notebook or digital document to record your sparks of inspiration. Over time, one of them might grow into your next great story.

3. Build Believable Characters

Characters are the heart of any story. No matter how exciting your plot is, if readers don’t care about the characters, they won’t be invested in the story. Begin by defining your protagonist—the central character with whom the audience will identify. Give them desires, flaws, and depth. What do they want? What stands in their way? How do they change over the course of the story?

Secondary characters should also feel real. Avoid stereotypes and clichés. Even minor characters deserve a backstory or a unique trait that makes them memorable. Dialogue is a powerful tool for revealing character—use it to show relationships, personality, and tension.

4. Create a Strong Plot Structure

A story without structure is like a house without a frame. It may have all the materials—characters, settings, conflicts—but it won’t hold together. Most stories follow a classic structure known as the narrative arc:

Exposition: Introduce the setting, characters, and the story’s premise.
Rising Action: Build tension through conflicts and complications.
Climax: The turning point where the main conflict reaches its peak.
Falling Action: The aftermath of the climax and the unraveling of events.
Resolution: Loose ends are tied up, and the story concludes.

While you don’t have to follow this structure rigidly, understanding it helps ensure your story has momentum and emotional payoff.

5. Show, Don’t Tell

One of the golden rules of storytelling is “show, don’t tell.” Instead of telling readers what a character feels, show it through actions, reactions, and sensory details. For example, rather than writing “She was scared,” you could write “Her hands trembled as she reached for the doorknob, her breath coming in short, sharp gasps.”

Showing makes scenes more vivid and immersive. Use all five senses—sight, sound, touch, taste, and smell—to draw the reader into your world. Strong imagery and descriptive language help paint a mental picture that sticks.

6. Choose the Right Point of View

The point of view (POV) determines who tells the story and shapes how readers perceive events. Common POVs include:

First-person: “I” narration allows deep emotional access to the narrator’s thoughts but limits the story to what they know.
Third-person limited: “He” or “she” narration focuses on one character’s internal world.
Third-person omniscient: The narrator knows everything about all characters and events.
Second-person: Rare in fiction, this “you” perspective creates a direct, immersive experience.

Pick a POV that best suits the tone, depth, and scope of your story. Be consistent—sudden shifts in perspective can confuse readers unless done intentionally and skillfully.

7. Craft Authentic Dialogue

Dialogue brings characters to life and drives the story forward. Good dialogue sounds natural, reveals personality, and creates tension. Avoid long-winded monologues, and trim unnecessary small talk. People rarely speak in complete sentences—let your characters interrupt, hesitate, or use slang where appropriate.

Also, use dialogue tags (“he said,” “she whispered”) sparingly and effectively. Too many can feel mechanical; too few, and readers might lose track of who’s speaking. You can also use action beats (e.g., “She slammed her fist on the table”) to break up dialogue and show emotion.

8. Set the Scene

Setting is more than a backdrop—it shapes the mood, theme, and tone of your story. Whether it’s a bustling city, a haunted mansion, or a distant planet, your setting should feel alive. Describe details that matter, and let the setting interact with the characters. Does the oppressive heat reflect a character’s rising anger? Does the quiet snowfall echo a moment of grief?

A well-developed setting grounds the reader in the story’s world and can act as a character in its own right.

9. Revise and Edit Ruthlessly

Your first draft is just the beginning. Writing is rewriting. Don’t expect perfection in your initial attempt. Instead, focus on getting the story down. Once you have a draft, revisit it with a critical eye. Look for plot holes, inconsistent character motivations, awkward phrasing, and pacing issues.

Read your story aloud to catch clunky sentences or unnatural dialogue. Ask for feedback from trusted readers or writing groups. Editing is where the magic happens—it transforms a rough idea into a polished narrative.

10. Find Your Voice

Your writing voice is your unique fingerprint—it’s how you tell your story, not just what you say. Voice includes your choice of words, tone, rhythm, and perspective. Don’t try to imitate other writers too closely. Experiment with different styles until you find what feels authentic.

Writing regularly helps you develop your voice. Don’t be afraid to take risks or break rules when necessary. Voice is what makes your story stand out in a crowded literary landscape.

Conclusion: The Art and Craft of Storytelling

Writing stories is both an art and a craft. It requires inspiration and discipline, imagination and technique. Whether you’re writing for fun, healing, fame, or legacy, remember that every great story begins with a blank page and a willingness to explore the unknown.

Be patient with yourself. Writing is a journey of discovery—about your characters, your world, and perhaps most of all, yourself. The more you write, the better you’ll become. So pick up your pen, open that laptop, and begin. Somewhere inside you is a story only you can tell. Let it out.

From Quills to Clicks: Navigating the Role of Digital Communication in Modern Epistolary Narratives

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Komal Ashok Raisinghani [1] & Bhupendra Nandlal Kesur [2]^,*

Abstract

This research investigates the evolution of the epistolary form in the digital age, using Alena Graedon’s The Word Exchange (2014) and Dave Eggers’ The Circle (2015) as primary texts. These novels exemplify how contemporary narratives integrate digital communication methods—such as emails, text messages, and social media—to reflect and critique modern societal changes. In The Word Exchange, Graedon presents a dystopian future where the overreliance on digital devices, like the Meme, leads to cognitive decline and societal fragmentation. Characters struggle with memory and language, illustrating the dangers of losing intellectual autonomy in a digitally dependent world. This aligns with theoretical perspectives on narrative immersion and cognitive effects, emphasizing the balance between connectivity and cognitive health. Conversely, The Circle critiques the pervasive surveillance and erosion of privacy in a hyper-connected society. The comparative analysis of these texts demonstrates the continuity and innovation within the epistolary tradition. Traditional epistolary narratives created intimacy and realism through letters, while modern digital epistolary forms maintain immediacy but reflect the fragmented nature of contemporary communication. The digital format’s impact on cognitive functions, social interactions, and personal identity is critically examined through thematic analysis. This study contributes to understanding the evolving nature of epistolary narratives, offering insights into how contemporary authors use digital communication to explore and critique the complexities of modern human interaction. The findings underscore the significance of technological advances in reshaping literary forms and their reflection of broader cultural and cognitive shifts. The study ultimately contributes to the broader discourse on the future of storytelling and the dynamic ways in which literature adapts to the digital landscape.

Keywords: Digital Epistolary Form, Modern Epistolary Narratives, Cognitive Impact, Technological Dependency, The Word Exchange, The Circle

In the realm of literary studies, the epistolary form has long held a unique place, offering readers an intimate glimpse into characters’ lives through their letters and personal writings. Traditionally, these narratives relied on handwritten letters to convey the depth and nuance of human relationships. The physical act of writing and the tangible nature of letters added layers of meaning and emotion, allowing readers to feel connected to the characters and their experiences. The epistolary novel, a genre that began in the early 18th century, involves storytelling through letters, diary entries, and other documents. Samuel Richardson’s Pamela (1740) and Clarissa (1748) are among the earliest examples of this form in English literature. These novels captivated readers by offering intimate glimpses into the characters’ thoughts and emotions, creating a sense of immediacy and personal connection that was unprecedented at the time. Although historically speaking the epistolary genre peaked in eighteenth-century Europe, producing such classics as Montesquieu’s Lettres persanes, Richardson’s Pamela and Clarissa, Rousseau’s La Nouvelle Héloïse, Smollett’s Humphry Clinker, Goethe’s Werther, and Laclos’s Les Liaisons dangereuses, the letter’s potential as artistic form and narrative vehicle has been explored by writers of many nationalities and periods—from Ovid in the Epistulae Heroidum to Saul Bellow in Herzog (Prince and Altman, 1983). These novels offered unprecedented intimacy, allowing readers to delve into characters’ thoughts and emotions through their personal correspondence. This format facilitated multiple perspectives, enriching the narrative complexity and engaging readers on a deeper emotional level. Moreover, Terry Castle, in Clarissa’s Ciphers: Meaning and Disruption in Richardson’s Clarissa (2016), elaborates on how Samuel Richardson’s use of letters in Clarissa adds layers of meaning and complexity, highlighting the act of communication as both a narrative device and a thematic focus.

“Clarissa’s remarkable form-the intricate, clumsy, strangely beautiful “Epistolary Manner of Writing”-allows for such movement between inner and outer dimensions of the text. It invites a jump between levels” (Castle, 2016, p.16). This form not only provides a unique narrative structure but also reflects the multifaceted nature of human experience.

Richardson’s reasons for choosing the epistolary “Manner,” its literary provenance and prototypes, the relation between the strategies and ideology of fictional correspondence and those of actual correspondence in the eighteenth century, or (as in Ian Watt’s classic discussion in The Rise of the Novel) on those more intangible cultural and intellectual changes that made the letter form seem to contemporary readers an eminently plausible and indeed preferred mode of narrative art (Castle, 2016, p.17).

The use of letters in Clarissa bridges personal introspection and social interaction, creating a narrative that resonates with the cultural context of its time.

The epistolary format allowed authors to explore multiple perspectives and develop complex, layered narratives that engaged readers deeply (Prince and Altman, 1983). As communication technologies evolved, so did the mediums through which epistolary narratives were conveyed. The advent of the telephone, followed by email and text messaging, transformed personal correspondence, influencing how stories could be told. The digital age has introduced new modes of communication that are immediate, interactive, and far-reaching. Unlike traditional letters, which required time to compose and deliver, digital messages can be sent and received instantly, altering the pace and nature of communication. These digital forms not only change how stories are told but also impact the development of characters and the portrayal of their relationships. In the digital age, the evolution of communication technologies has profoundly impacted narrative forms and character development in literature.

As society transitioned into the digital age, the medium of storytelling evolved, incorporating emails, text messages, and social media updates into the narrative fabric. This shift reflects contemporary modes of interaction and communication, offering new possibilities for narrative structure and character development. Digital narratives not only enhance immediacy and engagement but also introduce fragmentation and hypertextuality, challenging traditional linear storytelling. Marie-Laure Ryan’s (2001, p.15-20) Narrative as Virtual Reality emphasizes how digital tools facilitate immersive and interactive narrative experiences, transforming conventional forms. This evolution reflects broader cultural shifts, as digital communication redefines not only the form but also the essence of personal narratives. Increasingly, these narratives capture the fleeting, fragmented nature of communication in the digital age, emphasizing post-modern themes such as “fragmentation and the disappearance of the grand narrative” (Whitting, 2009). The integration of social media and instant messaging into narrative storytelling brings forth new dynamics of connection and isolation, thus inviting readers to engage with characters in novel ways while challenging traditional notions of authorship and voice. “Authors and filmmakers are expanding upon the epistolary narrative to include modern-day correspondences such as emails, text messages, and even social media posts. This blend of tradition with innovation provides a broad canvas for creativity and pushes the boundaries of storytelling” (Falmouth University).

This research situates The Word Exchange (2014) and The Circle (2015) within the broader context of digital narrative analysis, utilizing these theoretical insights to explore how digital communication forms influence narrative techniques and character development. These narratives showcase the complexity of maintaining relationships in an age defined by transient connections, blurring the distinctions between private thoughts and public personas. As literature continues to adapt to technological advancements, the epistolary novel remains a vital arena for examining the intersections of technology, identity, and human interaction. By examining the specific instances of digital communication in these novels, this study aims to illuminate the evolving role of digital media in contemporary literature and its implications for the future of narrative forms. In Alena Graedon’s The Word Exchange and Dave Eggers’ The Circle, the incorporation of digital communication forms such as emails, text messages, and social media is pivotal in constructing the narrative, shaping character development, and highlighting thematic concerns. Both novels use these modern modes of communication to explore the implications of technological advancements on language, identity, and social interactions. In both the novels, one can witness the seamless fusion of traditional and digital epistolary elements. Graedon’s novel explores a dystopian future where language itself is at risk, using digital forms of communication to build suspense and develop characters. Eggers’ The Circle delves into the pervasive impact of social media and surveillance, employing emails and instant messages to reveal the inner workings of a powerful tech company and its effects on personal identity and privacy.

The contemporary relevance of the epistolary form is underscored by its ability to engage readers with the immediacy of digital communication while maintaining the intimate, reflective quality that has always defined the genre. This duality is explored in various studies, highlighting the epistolary novel’s enduring appeal and its capacity to adapt to new media. “Through the exchange of letters, diary entries, or even digital messages, we witness a dynamic interaction between characters that often acts as a catalyst for the plot, building suspense and climax in an organic way” (Crawford). The shift from handwritten letters to digital messages represents not only a change in medium but also a transformation in how narratives are constructed and experienced, offering new avenues for character development and plot progression. Through a detailed analysis of The Word Exchange and The Circle, this research paper will investigate how digital communication forms are incorporated into contemporary epistolary narratives and their impact on storytelling and character development. By examining these modern texts, we aim to understand how the epistolary form continues to evolve, reflecting and shaping our digital identities and connections in the literary landscape.

The Word Exchange is set in a near-future dystopia where a digital device called the Meme has become ubiquitous, altering how people communicate. The story revolves around the disappearance of a lexicographer, Doug Johnson, and his daughter Anana’s quest to find him. The novel uses various digital forms to unravel the mystery, showcasing the profound impact of technology on language and cognition. Anana’s character is deeply influenced by her interactions with digital communication, particularly through her reliance on the Meme device and her receipt of cryptic emails from her father. These digital interactions reveal her growing anxiety and determination as she navigates a world where language and cognition are under threat. The emails from her father were filled with jumbled letters and symbols, such as “Stop u hui dome tode”, showcase Anana’s desperation and her father’s deteriorating state, highlighting her emotional journey (Graedon, 2014). Doug’s disappearance and his fragmented digital messages serve as a catalyst for the plot, propelling Anana into a dangerous quest. His reliance on digital communication to warn his daughter underscores his awareness of the digital threat and his helplessness as language disintegrates. Doug’s final messages, sent via the Meme, reflect his frantic attempts to communicate and his awareness of the impending linguistic collapse.

In The Word Exchange, Alena Graedon explores the profound consequences of digital dependency on cognitive functions and societal coherence. The disease “word flu” manifests as a progressive loss of language and cognitive abilities among the populace, symbolizing the detrimental effects of excessive reliance on technology. The Meme, originally designed to enhance communication and access to information, becomes a tool of cognitive degradation as people start to rely on it for even the most basic linguistic tasks. This dependency illustrates the broader theme of technology’s potential to undermine human intellect and autonomy. Graedon’s narrative critiques the commodification of language, where words and meanings are bought and sold, emphasizing the fragility of human cognition in a technology-driven society. The novel warns of the dangers inherent in allowing technology to supplant fundamental human skills, highlighting the need for a balanced and mindful approach to technological integration.

In The Circle, Dave Eggers delves into the theme of surveillance and the erosion of privacy in the digital age. The novel presents a near-future scenario where a powerful tech company, The Circle, advocates for complete transparency and total connectivity. Through the protagonist Mae Holland’s journey, Eggers critiques the pervasive nature of social media and the corporate push for absolute transparency, which ultimately leads to the erosion of individual privacy and identity. The Circle’s technologies, designed to monitor and share every aspect of an individual’s life, create a society where privacy is deemed obsolete. This hyper-connectivity fosters an environment where constant public scrutiny becomes the norm, leading to profound psychological and societal costs. The novel explores the seductive allure of technological utopianism, where the promise of a perfectly connected society masks the insidious loss of personal freedom and autonomy. Eggers highlights the dangerous implications of living under constant digital surveillance, urging a reevaluation of the values of privacy and individualism in the face of advancing technology.

The plot of The Word Exchange follows Anana Johnson as she navigates a world unraveling due to the catastrophic effects of the Meme. Anana works at the North American Dictionary of the English Language (NADEL), a bastion of traditional lexicography. The sudden disappearance of her father, Doug Johnson, the chief editor at NADEL, propels Anana into a quest to uncover the truth behind the Meme and the origins of the “word flu.” As she delves deeper into the conspiracy, Anana discovers that the Meme’s developers have unleashed a linguistic virus that spreads through digital communication, corrupting the cognitive faculties of its users. The narrative structure interweaves Anana’s personal struggles with a broader societal collapse, illustrating the profound impacts of technological overdependence. Her journey is marked by efforts to rescue her father, decipher the origins of the linguistic epidemic, and ultimately, fight against the dehumanizing forces of unchecked technological advancement. The plot’s tension builds around the conflict between human intellect and technological control, culminating in a climactic struggle to preserve linguistic and cognitive integrity.

In The Circle, the plot centers on Mae Holland’s rapid ascent within The Circle, a tech giant that dominates the digital landscape. Mae, initially an enthusiastic and idealistic newcomer, quickly becomes engrossed in the company’s mission to achieve total transparency and connectivity. As she rises through the ranks, Mae becomes a fervent advocate for the Circle’s initiatives, including ubiquitous surveillance and data-sharing policies. The narrative follows her transformation as she succumbs to the power of the Circle’s technology, sacrificing her privacy and personal relationships in the process. Mae’s journey reflects the broader societal shift towards a culture of constant surveillance and digital conformity. The plot exposes the psychological manipulation employed by the Circle to maintain control over its employees and the public. Mae’s increasing immersion into the Circle’s ethos reveals the dangerous allure of technological utopianism, where the promise of a perfectly connected society masks the insidious loss of personal freedom and autonomy. The narrative reaches its zenith as Mae fully embraces the Circle’s vision, highlighting the profound ethical and personal costs of living in a digitally monitored world. The assertion, “Secrets are lies. Sharing is caring. Privacy is theft,” serves as a critical commentary on the societal expectations enforced by digital culture (Eggers, 2015). Here, the characters are pressured to conform to a collective identity, drastically reshaping personal relationships and self-representation. Through this lens, the novel critiques the kind of transparency demanded in modern communication and its implications for individual identity.

In The Word Exchange, Anana Johnson’s character embodies resilience and the fight to retain human agency in a digitally dominated world. Anana’s initial reliance on the Meme device mirrors the societal trend towards technological dependence. However, as the narrative progresses, her character evolves from passive acceptance to active resistance. Anana’s journey is marked by her determination to uncover the truth behind her father’s disappearance and the origins of the “word flu.” Her evolving relationship with technology, from reliance to rebellion, mirrors the novel’s critique of technological overreach. A poignant line states, “Words are the currency of my life, and yet they are becoming worthless” (Graedon, 2014). This reflects how digital communication reduces the depth and significance of language, leading to a sense of disconnection. Secondary characters, such as Bart, Anana’s colleague and confidant, serve as foils to her, showcasing varying degrees of resistance and submission to digital dependence. Bart’s own struggle with the effects of the Meme device underscores the pervasive impact of technology on individual cognition and agency. Anana’s character arc highlights the theme of human resilience and the importance of safeguarding cognitive autonomy in the face of technological encroachment. Moreover, the line, “In this world, meaning is fluid, slipping through our fingers like sand,” resonates with the theme of lost identity in an era dominated by digital formats (Graedon, 2014). The fluidity of meaning indicates a broader existential dilemma, where the protagonist and, by extension, the readers must grapple with what authenticity and connection mean in a rapidly changing digital landscape.

In The Circle, Mae Holland’s character arc serves as a cautionary tale of the power of technology and the erosion of personal identity. Initially portrayed as an idealistic and ambitious young woman, Mae eagerly embraces the Circle’s mission to achieve total transparency. Her character’s transformation is driven by the company’s manipulative tactics, which exploit her desire for acceptance and success. As Mae becomes more enmeshed in the Circle’s surveillance culture, she gradually loses her individuality and critical thinking. Her increasing immersion in the company’s ethos leads to the deterioration of her personal relationships and ethical boundaries. Mae’s transformation from a private individual to a public figure illustrates the psychological impact of constant surveillance and the loss of personal autonomy. Her character’s journey serves as a critique of the pervasive influence of social media and the dangers of prioritizing connectivity and transparency over privacy and individualism. Eggers uses Mae’s character to highlight the broader societal implications of living in a digitally monitored world, urging a re-evaluation of the values of privacy and personal freedom in the face of advancing technology. Additionally, the line “We are defined by the connections we make, and the data we generate” illustrates the profound impact of technology on the characters’ identities (Eggers, 2015). Their self-worth becomes tied to their online interactions, further emphasizing how deeply modern epistolary forms intertwine with personal identity construction. This perspective challenges traditional notions of selfhood that are more static and less reliant on external validation.

The exploration of digital communication’s impact on storytelling and character development in The Word Exchange and The Circle reveals profound shifts in narrative techniques. In The Word Exchange, Graedon’s portrayal of a linguistic epidemic highlights the cognitive risks of technological dependency. The novel’s critique of language commodification emphasizes the necessity of maintaining cognitive integrity in a digital world. In contrast, The Circle by Eggers delves into the consequences of surveillance and privacy erosion, showing how constant digital scrutiny transforms individual identities and societal norms. Through Mae Holland’s experience, the narrative illustrates the seductive yet dangerous allure of technological utopianism. These contemporary works demonstrate how modern communication methods like emails, text messages, and social media reshape narrative structures and influence character development. Both novels highlight the significant impact of digital communication on contemporary narratives, urging a critical examination of how technology influences storytelling, character development, and broader societal dynamics.

Together, these works underscore the ongoing evolution of the epistolary form, adapting to contemporary digital realities. They highlight critical issues such as privacy, autonomy, and cognitive resilience, urging a re-evaluation of the relationship with technology. By juxtaposing these narratives, this paper emphasizes the dynamic nature of epistolary storytelling and its relevance in addressing modern technological challenges. This analysis enriches our understanding of how digital communication shapes literature and society, offering valuable insights into the future trajectory of narrative forms.

References

The contemporary role of the epistolary novel — Falmouth University English & Creative Writing. Falmouth University English & Creative Writing. https://falwriting.com/new-blog/2019/9/30/the-contemporary-role-of-the-epistolary-genre

Castle, T. (2016). Clarissa’s Ciphers: Meaning and Disruption in Richardson’s Clarissa.

Crawford, M. (2024). What are Epistolary Novels: A Guide to Letter-Based Stories. Filmmaking Lifestyle. https://filmlifestyle.com/what-are-epistolary-novels/

Eggers, D. (2015). The Circle. Large Print Press.

Graedon, A. (2014). The Word Exchange: A Novel. Doubleday Books.

Prince, G., & Altman, J. G. (1983). Epistolarity. Approaches to a Form. Poetics Today, 4(1), 199. www.academia.edu/78662315/Epistolarity_Approaches_to_a_Form.

Ryan, M. L. (2001). Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press.

Whitting, G. J. (2009). Whitting Epistolary Writing by Contemporary Women.

www.semanticscholar.org/paper/Whitting-Epistolary-Writing-by-Contemporary-Women-hitting/5c50b610457fbb81d4bf8087bf075be300330d5a#:~:text=Contemporary%20epistolary%20novels%20are%20experiments%20in%20style%20and%20form.%20Unlike%20the%20nineteenth%2Dcentury%20sentimental. ‌

[1] Research Scholar, KCE Society’s M. J. College, Jalgaon, Maharashtra, India. Email: raikomal2109@gmail.com https://orcid.org/0009-0004-3717-1070

[2] * Corresponding author: Professor and Head, P. G. Department of English, KCE Society’s M. J. College, Jalgaon, Maharashtra, India. Email: bnkesur@gmail.com https://orcid.org/0000-0002-5613-2198

Citation

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1. Understand the Purpose of a Book Review

2. Before Writing

3. Structure of a Book Review

(A) Bibliographic Information

(B) Introduction

(C) Summary of the Book

(D) Critical Evaluation

(E) Conclusion

4. Writing Style Tips

5. Checklist Before Submitting

6. Common Mistakes to Avoid

7. Sample Closing Lines

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1. Understand Why Stories Matter

2. Start with an Idea or a Premise

3. Build Believable Characters

4. Create a Strong Plot Structure

5. Show, Don’t Tell

6. Choose the Right Point of View

7. Craft Authentic Dialogue

8. Set the Scene

9. Revise and Edit Ruthlessly

10. Find Your Voice

Conclusion: The Art and Craft of Storytelling

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