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10 Chapter4
10 Chapter4
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4.1 INTRODUCTION – NOVELIST & NOVEL:
Literary fictions are portrayals of the thinking patterns and social norms prevalent in
the society. They are treasure-trove of human experience. Literary fictions are the
food for thought and tonic for imagination and creativity. A writer of Indian English
fiction, Kiran Desai is one of the immigrant writers who have chosen materials for
As Kiran Desai is the writer of ‘second generation’ of diaspora, she has the
regarding rootlessness, alienation, nostalgia, search for self, identity crisis etc. She
tries to find out solutions for these questions. Kiran Desai succeeds in exhibiting the
feeling of her characters who are caught between two cultures – Eastern and Western.
They are trapped by the ambivalance that surrounds global, local and post-colonial
Kiran Desai is a vibrant author with innate artistic flairs. She has created a
discrete place for herself in the constellation of Indian woman novelists in English.
She is the daughter of the renowned fictionist Anita Desai. Both have explored in the
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Indian English novels the concerns like socio-political, moral, racial, emigrational,
era. With the very publication of her novel Hullabaloo in the Guava Orchard (1998),
Kiran Desai has been globally applauded to be one of the finest novelists in the trends.
was published in 2006. It won a number of awards including the Man Booker Prize
for that year, the National Book Critics Fiction Award in 2007 and the 2006 Vodafone
Crossword Book award. In both of her novels, she has portrayed beautiful scenes of
nature and landscapes. Desai’s second novel The Inheritance of Loss, as mentioned by
both Salman Rushdie and Rohinton Mistry, secured her place with the enormously
acclaimed contemporary Indian authors who explore life and society in India and
(relibrary.com/Online) There are various families involved, but there was a little that
was sweet or delightful about marital rape, racism and street massacres. Desai uses
rich, mannered, even cute and ludic language to delineate a bleak universe. One of the
kitchen-sink stories and almost certainly one of Muriel Gray’s personal female issues
resonates with the larger international issues, including the exploitative relationship
Britain exercised over a subservient India. The narrator points out this implication,
They had tapped into a limitless bitterness carrying them beyond the
parameters of what any individual is normally capable of feeling . . .
Experienced rage with enough muscle in it for entire nations coupled in
hate. (2006: 173)
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The novel is rife with the sort of messy common details that disgust the
judge. The two teenage lovers, Gyan and Sai, would have melted into each other like
“pats of butter”.(129) The judge has been powdering his face before he forces himself
Food comes up a lot in the narrative: “dumplings, chutney, dahl, beef-burgers, the
blood-beaded on the surface”. (136) Returning from a trip out, Sai throws up:
. . . a mordant bile rose up in her throat, frizzling her system, burning her
mouth, corroding her teeth – she could feel them turn to chalk as they
were attacked by a resurgence of the chilli chicken. (125)
The main characters are the two Indian youths: Sai and Biju. Sai is an
the son of Sai’s cook who has made it to America and works exploited and illegal in
New York. Sai’s grandfather, usually referred to as the judge, is a dislikeable retired
member of the judiciary, and the husband in the abusive marriage. A critic Sara-
The very opening sentence of the novel is significant from the natural points
of view of this analysis. It introduces an evocative natural setting – the colour of dusk
that permeates whole days. The mist moves “like a water creature across the great
flunks of mountains”. (1) The grand peaks of Kanchenjunga are briefly visible above
the mist, “gathering the last of the light”. (1) This establishes the centrality of the
landscape in the story. The novel opens and ends with insurgency. In the opening
chapter, the judge’s house is besieged and a hunting rifle and plundered. The Chapter
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fifty-two ends with Biju robbed by Gorkha mercenaries and chased by dogs in the
jungle. About the partition of India and the emergency of Pakistan, Desai reacts:
“First heart attack to our country . . . that has never been healed.” (129)
Like the first novel of Desai, this novel The Inheritance of Loss too begins
with a description of nature. Cho Oyu, far away from the rustle and bustle of mundane
world, owing to neglect and apathy, serves as a gothic backdrop against which all the
major characters are presented: the judge Jemubhai Patel, Sai, Cook, Gyan, and their
affectionate pet Mutt. The peaceful, calm and beautiful nature surrounding the people
The novel The Inheritance of Loss deals with the quest for individual
identity. It is the struggle for the search of one’s root in a world. In this world, the
concept of home has undergone a significant change during the post-globalization era.
The novel consists of fifty three chapters. It includes the anxieties and tension of the
people living in two different worlds. It travels beyond the boundaries of continents,
maps. It intricates the ethno-racial relationship between people who have come from
The Inheritance of Loss portrays the Anglicized Indian culture. It depicts the
lives of a few Indians with fractured Indian identities. Desai bears witness to the
sufferings of the poor and the powerless by holding up an unflinching mirror to their
lives. This novel covers countries like Britain, US, India. It also covers the past and
the present. It also covers the social, religious, linguistic and ethnic diversity. The
novel is set in India. It shows the master craftsmanship of Desai in portraying a wide
range of characters. As Pankaj Mishra states: “A retired judge, his granddaughter, her
tutor, the cook, his son and myriad supporting characters have a lively apprehension
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4.2 SETTING & NARRATIVE STYLE IN THE NOVEL:
The novel covers a wide variety – different countries, the past and the
present, and the social, religious and ethnic diversity. In it, she has analyzed several
current issues of modern civilization. This novel illustrates the clash of two absolute
cultures and its consequences. It is set between two main places: Kalimpong, India
and New York city. Setting of this novel – Kalimpong is situated at foothills of north-
beautiful snow covered Kalimpong with ecocritical concern in juxtaposition with the
cross-cultural issues. These issues affect two main characters Biju and Jemubhai
Patel. It shows that Kiran Desai is a lover of nature. It reveals her deep concern of
environment.
At the same time, the scene shifts repeatedly to the contemporaneous United
States and to flashbacks to other places and times. Apart from these setting, the reader
Loss. Here Kiran Desai gives vivid descriptions of multicultural societies from the
whole world. Furthermore, the character of Gyan in this novel introduces the reader to
some of the history of Nepal. Parallely, the storyline shifts to the life of Biju, the son
difficulty to adapt to the new foreign environment. He works along with the other
illegal immigrants who spend much of their time in finding fault with the authorities
Although Anita is mentioned only once in the novel, in the dedication (“To
my mother with so much love” – Preface), she played no small part in the lengthy
Anita’s house overlooking the Hudson river at Cold Spring in upstate New York, and
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on five or six long writing trips to Mexico that mother and daughter made together.
The younger Desai has also inherited if not a style – her voice is very much her own –
then at least a technique of writing from Anita. Most profoundly, some of the core
episodes in Kiran’s life that were experienced with and alongside her mother, and also
interpretation of the globalized world which stands out among her contemporaries as
complex and sensitive. She artfully unravels the personal and political strands that
have brought her characters to their dismal present, and journeys with ease through
Gujarat, New York and Britain. We learn that when the judge left home to study at
Cambridge University in 1939, he developed a lasting disdain for his Indian heritage,
“he grew stranger to himself than he was to those around him, found his own skin
odd-colored, his own accent peculiar.” (128) His self-loathing propels him on a path
of unending misery and loneliness. Once back in India, he banishes his wife because
of her un-English ways. This contrast situation shows the conflict between two
different social, cultural and religious manners and different social milieu.
The story cuts away and we are ‘all the way in America’. High uptown, we
find the cook’s son, Biju, trying to evade the immigration authorities by flitting
between a succession of grubby kitchen jobs. Here we are in the high-rise capital of
the world. Yet in the Manhatten basements, we might just as well be back in
Kalimpong. The task of weaving the two seemingly disparate but ultimately mirror-
image worlds together in one novel is what kept Kiran Desai in her hermitage for so
long. She says she found it a difficult book to write. It just grew and grew until it
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Finally, she realized she had to stop writing and start cutting and pulling it
together, otherwise there would be no end. At last, she finds herself back in the open,
beginning what she calls a slow process of recovery. For the past year, she has been
living in Park Slope, Brooklyn, neighbourhood that must have the highest density of
writers in the world – Paul Auster and Siri Husvedt, Jonathan Safran Foer and Nicole
Krauss, Rich Moody, Jonathan Lethem. Now she has added one more illustrious
literary name to the list: her own. She says with a wry smile: “The first book took four
years to write, the next eight, so I guess the third will take 16. Then it will soon be
Kiran Desai has beautifully personified nature. People learnt to adjust with
overflowed its bank and carried the bridge downstream. Gorkhas were expressing
their discontent through strikes and procession but it could not become successful.
There was museum in Darjeeling. Sai and Gyan visited it where they saw socks of
Tenzing and his other things. For Gyan, Tenzing was a real hero. In this novel,
shelter, a form of society. It is this, her own inheritance and the disinheritance that has
come with globalization, of which Kiran Desai sings so purely in The Inheritance of
Loss. It is at once a novel of class and economic disparity, a young girl’s fanciful
crumbling edifices and their dwindling power in the face of a modernizing nation’s
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disaffected population. History is another postcolonial issue which is presented
There is the reflection of the globalization and its discontents in the novel
The Inheritance of Loss. We also come across an enchanting enigma of Kiran Desai’s
stylistic nuances in it. The novel has full representation of India. It has anatomized the
immigrant lives. There is the portrayal of the individuals who are in search of the lost
identity. There is also the representation of the love, loss and longing in it.
The diasporic subjects like memory and nostalgia have been studied in it.
Thus, this novel can be considered as a parable on the predicament of Third World
Immigrants. There are deviating ambit and uprooted sensibilities in it. The novel
captures the dichotomy and duality in the lives caught in the contrarious interaction
between East and West. Jorge Luis Borges’ poem Boast of Quietness is used as an
epigraph for the novel. This speaks of those who are going back and forth between
cultures and homeland as characters in the novel. Kiran Desai has inherited both the
experience and the way of writing from her mother Anita Desai.
aspects in true sense. It is neither about Kalimpong nor the Gorkhaland agitation. It is
simply about ‘loss’, the most well-known perspectives of post-colonial period. Sense
frustrated and insecure in different cultures and face a lot of problem while adjusting
chaos and despair. Early in the novel, she sets two Anglophilia Indian women to
traditional African’s encounter with the modern world. Desai deals with realism. This
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realism paints a grim portrait of colonialism, post-colonialism and migration. She
clutches of myth and fetishism. Desai’s novel talks about the serious consequences of
raised the natural environment around us, is becoming worse. The problems of global
warming, ozone depletion, acid rain, the resource crisis of fresh water, energy
shortages, decreasing resources of forest and the desertification of land etc are
increasingly serious which make ecological environment be worse and worse. It tells
us to pay more attention to the man-nature relation and review behaviour of human
being. It is very much necessary to take every action into consideration. If humans
take any one thing in this world for granted, then they start a vicious cycle of
repercussions like extinctions of some species, which may lead to the extinction of the
human race and the final chapter for this lively planet.
The first stirrings of insurgency were being felt at that time. But at that age,
she had no real understanding of the issues involved. She was concerned only with
her own world. Some of these postcolonial issues reflect in Sai’s character. The
petulance of the lover’s spats between her and Gyan who wants to join the insurgents
reminds us that they are children caught in events over their head. Desai says that she
wanted to depict how we never really try to understand what life is like for other
people.
Certainly, there is the feeling, even within India, to move beyond this label
world behind. When we move to the Western world, we see that they have left it
behind. There is a very little memory of colonial history. Certain things have not
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changed. The power balance has not changed, the ways of doing business have not
changed, it is still about finding the cheapest labour possible. There are things that are
New York. This is held up as a symbol of multicultural success that is just a part of
the story. In the United States, there is a huge amount of illegal immigration that
keeps this country afloat. There is a lot of richness to the vision of a multicultural
world and it works in isolation. Living in that kind of mixture of food, music, people
Indians do not buy Indian products. Father Booty supplies homemade cheese
from Amul. Products which come in factory tins with names stamped on them (with
lots of advertisements) are considered better than anything made by local farmers.
When Father Booty asks whether the manager doesn’t want to support the local
farmers, he says: “Quality control, Father! All-India reputation, name brand, customer
Again Lola and other Indian women discuss about A Bend in the River. Lola
thinks that Naipaul has never freed himself from colonial neurosis. She goes on to
accuse him of ignoring the fact that there is a new England, a completely
cosmopolitan society where chicken tikka masala has replaced fish and chips as the
up of various elements: carbon, water, cellular material. These elements are all
elements found in nature. So, we are part of nature. In the natural world, everything is
interconnected. Our culture influences the way we see the nature, which influences
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nature itself. It is easy to see how parts of our culture have influenced the world in
which we live. All of nature has utility, all is important. If humans are to aid in the
conservation of nature, they must understand that every action has a repercussion. In
Although you may have acquired the habits and manners of the European,
have the courage to show that you are not ashamed of being an Indian, and
in all such cases, identify yourself with the race to which you belong.
(199)
Kiran Desai offers an interpretation of the globalize world which stands out
among her contemporaries work as complex and sensitive. She artfully unravels the
personal and political strands that have brought her characters to their dismal present
and journeys with ease through Gujarat, New York and Britain. In this novel, there
are two parallel narratives about alienation and migration one tracks Sai, and
awakening to adulthood and to the political turmoil gushing into her little patch of
Kalimpong.
the cultural hybridity of the post colonial migrant and the expatriate condition of
hybridity. She records the suppressed anguish of the illegal immigrants in New York
in her novel. Her novel deals with her own situation of migrancy, expatriation and
The main theme of the novel also appears to be the influence of the
European powers in India and how Indians are hounded by the colonization policies.
These influences have oppressed and degraded India. Desai’s fiction is set in the
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modern day India. The story is narrated to depict the collapse of the established order
due to the political unrest. Desai tries to bring forth the issues of poverty and hints
that globalization is not an easy solution to the problems of the trapped people of the
lower social stratas. Desai’s novel registers the multicultural reverberations of the new
millennium with the sensitive instrumentality of fiction. In this regard, her novel can
be compared with the novels of Ruth P Jhabvala and Salman Rushdie who did in
marginalization and lack of belongingness being experienced by the legal and illegal
the people from other states, regions and communities from India residing in
Kalimpong (national land). Tejender Kaur in his scholarly paper states that:
After the economic and political shifts following the new economic order
and polarizations across continents and since the spread of the recent
phenomenon of globalization practically to all societies and nation states,
Diaspora experience has assumed newer and vibrant dimensions. The
experience of migrancy and Diaspora also engenders various problems
and facts of journeys and relocation in new lands e.g. displacement,
uprootedness, discrimination, alienation, marginalization crisis in identity,
cultural conflicts, yearning for home and homeland etc. (Qtd in Sharma
Vijay & Tondon Neeru. 2011: 2)
between cultures in the novel. The feeling of inferiority complex grasped them. We
find them dwelling between the cultures. Despite all his efforts to refuse his Indian
identity, Jumubhai Patel can never belong to English upper-class. On the contrary,
Biju leaves western culture. He comes back to India. He is welcomed by his own
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The major characters who get trapped in class and cross-cultural conflicts
are Jemubhai Patel and Biju. Both are the victims of racial discrimination and cross-
cultural problems. Jemubhai hates the human beings after his bitter racial
discrimination he faced during his days. Another parallel story runs through the
Gorkhas indomitable fight for their own land where the environment gets completely
destroyed.
The protagonist of the novel is Sai. She is the orphaned granddaughter of the
Judge. She is exiled from the convent to be home schooled discovering the first flush
of youth, the first pangs of love. There are the delightful Bengali sisters Noni and her
sister Lola. Sai is with her Nepalese tutor Gyan and Biju. The son of the judge’s cook
is moving from one restaurant job to another, as an illegal immigrant in New York.
All these discussions state the core idea of novel that these problems are occurred
The Inheritance of Loss, partly set in America, is a sprawling novel that runs
from the Himalayas to New York city. It takes in Marx and Spenser Knickers, Grand
Mariner and Nepalese insurgents along the way. It offers an insightful and often
humorous commentary on multiculturalism and postcolonial society. Desai has set the
plot of the story. It was the period of the 1960s, 1970s, and 1980s. During these
periods, the two superpowers the USA and the Soviet Union had entered into a cut
capitalism and the second strongly stood for socialism. These powers directly and
indirectly, consciously and unconsciously affect the social milieu of the immigrants,
1980s India. There is Sai, the newly orphaned 16-year-old girl. She arrives
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unannounced at the doorstep of a grandfather she has never met. She has thrust from
the bleak, regimented, sheltered convent boarding school she was attending into the
Nepalese insurgency is about to unravel her life even further. To quote J.C. Hall:
Inheritance of Loss centres on three people Sai, Biju and Gyan, and a dog Mutt,
living together in an ancient house named Cho Oyu. There is the reptilian judge
Jemubhai Patel, lost in his chessboard and his memories of a youth spent at
Cambridge many decades earlier, of humiliation in foreign land. But his anglicized
ways and Cambridge education led him to abandon his traditional wife. He loves his
dog. He abuses his cook a loyal servant whose object poverty is relieved only by the
hope that his son, Biju will do better in America. This novel manages to explore with
The anglicized ways of the judge and Cambridge education led him to abandon his
traditional wife. He loves his dog and abuses his cook, a loyal servant. The abject
poverty of the servant is relieved only by the hope that his son, Biju, will do better in
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Desai has presented all major characters as the victims of postcolonial
issues. We come across the postcolonial, migration, history, subaltern and language.
Desai very cleverly handled all these issues. This novel raises several important
the global citizen and the development of new ideas. Dr. Bhatt’s compilation sums up
While teaching Sai, he created an affair with her. In her company, he forgot about his
poverty and inferiority to Sai’s family. Their romance was affected by the Gorkha
movement. The movement quickly becomes violent. The movement devoted to free
Desai has dealt very harshly with the Nepalis or Gorkhas who want their
land and are fighting for their freedom. Originally, they belong to this land and have
Indians like the judge. They have been taunted to be thieves, their brains thought to be
too dull for education. Every struggle for freedom has its roots in suppression. The
Nepalese struggle has its roots in their suppression. Gyan’s commitment to the
insurgency offers an ironic contrast with the commitment of his family to the colonial
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Gyan is an ambivalent Nepali tutor. He abandons his young romance with
Sai to join the violent separatists agitating for an independent state. Desai navigates
the disparate worlds of her characters with sensitivity and deep insight, unafraid to
leave their bleak lives with a bit of gentle comedy. Her deft narrative is compelling,
and her prose: “Allow me to gush: gorgeous, fluid, magnificent.” Like this opening
paragraph:
All day, the colors had been those of dusk, mist moving like a water
creature across the great flanks of mountains possessed of ocean shadows
and depths. Briefly visible above the vapor, Kanchenjunga was a far peak
whittled out of ice, gathering the last of the light, a plume of snow blown
by the storms at its summit. (1)
In the process of this tug of war, the historical period witnessed a process.
Here a large number of countries were gaining political freedom. These two global
super-powers are instilling the sense of freedom in many countries across the world to
cater to their own vested interest. The novel is a critique of American Hegemony.
state of immigrant there. In the narrative, the old times of colonialism flow into the
The characters – the Judge Jemubhai Patel, Sai, Gyan, Noni, and Lola and
Biju – all have experiences where their identity comes in contact with a foreign
illuminating the division between cultures that still exists today. She has presented the
region. Many characters in the novel share common parallels of experience which are
The five peaks of Kanchenjunga turned golden with the kind of luminous
light that made you feel, if briefly, that truth was apparent. All you needed
to do was to reach out and pluck it. (10)
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Desai describes Lola and Noni, two ‘aunties’ as lovers of an old India where
civilization had an order of finery lacking in the new democratic country. Lola, whose
daughter has moved to England and is working for the BBC in London, characterizes
does not impede a person’s chances at a successful life. Lola and her sister Noni are
not fond of the new England. They prefer the old one along with the old India. They
feel at home in that past, in a world of tradition they have learned to accept as natural
Desai gives much importance to two places in this novel Kalimpong and
New York. She gives two different storyline for two places having a totally a different
outlook. The New York life is remarkably different from the life in India. The Indian
part of the story deals with a makeshift family. This family comprises of a grumpy
retired judge Jemubhai, his young granddaughter Sai, his old cook and his pet dog
This shakes them out of genteel retirement challenging their older ways of life.
The American part of the story narrates the story of Biju. He is the son of a
from one ill-paid job to another. He tries to stay one step ahead of the INS. He is
world. In it, “one side travels to be a servant, and the other side travels to be treated
every nook and cranny of their living space. In fact, sustained vigour of her narrative
keeps the reader spell bound. The exposition of the setting of the novel and characters
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4.5 FOCUS ON CONTEMPORARY ISSUES LIKE GLOBALIZATION & ETC:
addition to this, she focuses our attention on alienation, cultural clash, displacement,
racial-discrimination.
hands of Kiran Desai. This novel encompasses broader issues ranging from ills of
and death. Kiran Desai has presented India as a concept, and a land of hope and desire
rather than a home. Jemubhai Patel’s moral maiming by colonialists made him admire
the Whiteman for everything and undervalue India which thwarted him to enjoy the
bliss of marital life with Nimi. After banishing every relationship from his life, he is
homeless due to his own choice. There are people like Sai, Lola and Noni who
harbour the vision of India of cheese toast and rum cake but Sai is homeless through
no fault of hers, except that of birth. The theme of alienation remains all pervasive
Desai spoke of her own hybrid identity as one that contains both
extraordinary richness and a terribly difficult perspective: ‘It teaches you
to clarify your place in the world. You are forced to see yourself from the
outside. (Book Review, google.com)
hybridity, from the novel: “Biju at Baby Bistro, Above the restaurant was French, but
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below in the kitchen it was Mexican and Indian. And when a Paki was hired, it was
Mexican, Indian and Pakistani.”(21) The noted Indian writer Pankaj Misra wrote:
and return. The retired grumpy judge, Jemubhai Patel studied in a Victorian England,
groomed by the Raj. All of these made him rise above his humble roots, to be a
The protagonist is Sai who represents multicultural class. The reason is that she
shifted from her native place, managed in a different place and tried to adjust in a
different culture. The son of a cook Biju adjusts in a foreign country for better life-
style but feels frustrated in a different culture. There are the true examples of post-
Desai’s interview to Rediff.com gives us an insight into the basic themes of the novel:
The second book isn’t a book that is set entirely in India, but one that tries
to capture what it means to live between East and West and what it means
to be an immigrant. On a deeper level, it explores what happens when a
Western element is introduced into a country that is not of the West, which
is what happened, of course, during colonial times and is happening again
with India's new relationship with the States. I also wanted to write about
what happens when you take people from a poor country and place them
in a wealthy one. How does the imbalance between these two worlds
change a person’s thinking and feeling? How do these changes manifest
themselves in a personal sphere, a political sphere, over time? These are
old themes that continue to be relevant in today’s world, the past
informing the present, the present revealing the past.
(rediff.com/ news /2006/Jan/30)
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Kiran Desai manages to tell a coherent tale of many people’s interlinked
lives across continents. Born in India, Desai moved to Britain at the age of fourteen
and was later relocated to the US. The people and the society around her aided well
for the creation of such a widely acclaimed novel The Inheritance of Loss:
Set against the gigantic backdrop of Himalayas, the novel presents lives of
people belonging to different cultures, nationalities, religions, languages
and customs and rituals. (Mishra, Pankaj. 27 June 2009)
Desai crosses the international borders (India and USA) to portray the
difficulties faced by the Indians who go to foreign country for their survival and who
are mentally attacked by the impact of westernization and blindly get attracted
towards the west resulting in immigration. Almost all the characters in the novel
becomes victimized and goes without identity inside or outside their native land. Biju
liberalization on the society. She exposes these ill-effects through the characters,
settings and the diversity of the atmosphere and activities. These profess to create
wealth and improve the quality of life. But in reality, these activities widen the gulf
between the rich and the poor. Kiran Desai acknowledges the gulf between Green-
card holders and undocumented workers. There is gulf between rich and poor. There
is also contrast between herself and her subjects. She is inherited from her personal
experiences. She handles socio-political ramifications, identity loss. She also handles
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Desai handles disillusion in the midst of the global community. She has
being in integrating the cultural diversities. But the fact is that there is a darker side
where millions are deprived of the basic human rights. On the other hand, Desai tries
to capture what it means to live between East and West. She captures the social milieu
of the two cultures. She also captures what it means to be an immigrant through the
character of Biju. She captures the tensions created because of the contrasts between
issues. We come across the postcolonial, migration, history, subaltern and language.
Desai very cleverly handled all these issues. This novel raises several important
the global citizen and the development of new ideas. Dr. Bhatt’s compilation sums up
While teaching Sai, he created an affair with her. In her company, he forgot about his
poverty and inferiority to Sai’s family. Their romance was affected by the Gorkha
movement. The movement quickly becomes violent. The movement devoted to free
185
Desai has dealt very harshly with the Nepalis or Gorkhas who want their
land and are fighting for their freedom. Originally, they belong to this land and have
Indians like the judge. They have been taunted to be thieves, their brains thought to be
too dull for education. Every struggle for freedom has its roots in suppression. The
Nepalese struggle has its roots in their suppression. Gyan’s commitment to the
insurgency offers an ironic contrast with the commitment of his family to the colonial
Kiran Desai describes The Inheritance of Loss as a book that tries to capture
what it means to live between East and West and what it means to be an immigrant.
She also says that it explores at a deeper level, what happens when a Western element
is introduced into a country that is not of the West. It happened during the British
relationship with the states. Her third aim was to write about what happens when we
take people from a poor country and place them in a wealthy one.
The Inheritance of Loss explores the postcolonial chaos and despair. She has
created the postcolonial atmosphere from the very beginning of the novel. She takes a
over any horror the world might thrust upon others. In a generous vision, sometimes
funny, sometimes sad, Desai presents the human quandaries facing panoply of
characters. This novel of a busy, grasping time every moment holding out the
invasion, empire building and migration. She detects the sense of loss of the
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dispossessed and the pangs felt by the separation. The diaspora depicted in the novel
shows that voluntary migration for studies to European countries affected the culture
In this comical and contemplative novel, Desai deftly shuttles between first
and third worlds. She illuminates the pain of exile, the ambiguities of postcolonialism
and the blinding desire for a better life. This novel presents many postcolonial issues.
This is a remarkable novel in the contemporary Indian English writers. Her novel has
brought her national and international recognition. It has become a part of the corpus
of Indian English literature and has contributed to the enrichment of Indian English
novel. Desai’s novel is full of wisdom and subtle parallels. Her scope is broad,
looking at the consequences of large cultural and political forces for both people and
colonialism, racism, immigration, young love, regret, hope, the role of family and the
phase. In fact, significant social changes have occurred in India due to the people’s
consumerism and globalization. Desai, a diasporic writer, presents the characters who
fail to assimilate new culture and give up their original culture in totality.
In her narrative, Desai deftly shuttles between First and Third worlds. She
illuminates the pain of exile. She also illuminates the ambiguities of post-colonialism
and the blinding desire for a ‘better life’. Through the characters, Kiran Desai muses
about her conceptualized status of India in the present globalized world. This world
has been compressed with the insurgence of migration, diaspora and transnationalism.
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4.7 THEME OF LOSS IN THE NOVEL:
The title can be interpreted in alternative way where the loss is passed on.
This loss can be carried over from one generation to the other generation. It is
witnessed that everyone is experiencing the loss. The word in the title “Loss” gives
negative associations. It shows the loss of many social and cultural aspects. Each and
every character in the novel finally experiences loss. Both the natives and immigrants
lose their dignity and respect. The feeling of being lost is reflected throughout the
novel. The title therefore reflects an important aspect of the novel: “Could fulfillment
inheritance and transmission. Loss, like abuse, can be transmitted from person to
is a social picture that Kiran Desai wafts in lightly passes over quickly, just as we pass
over the wife, Nimi - invalid and invisible. The Inheritance of Loss is a tale of losses.
The theme is the loss of identity and the way it travels through generations as a sense
of loss. It presents the stark reality of losses that a country suffers when such
separatist movements are at work. They affect all progress, peace, normalcy and even
everyday life pattern. Here is an excerpt from the novel in respect of the Gorkha
Movement:
The novel begins and ends with the description of mountain Kanchenjunga,
as Sai arrives at Cho Oyu. The mountain is described as macabre. It symbolizes the
sober mood of child who has lost her parents. The loss in each character’s life is
warned by the change in nature. Almost all the characters lose what they possessed in
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the beginning. They experience a heavy loss both in public and private life. The
fertility of the land is lost. It is shown very clearly even though there is possibility of
cultivating all crops. “It is very isolated, but the land has potential”, the Scotsman
and the deep rootedness of the native culture run in the blood of all the characters in
the novel.
of rage and frustration from which he had been physically remote in New York. For
him and others withdrawal or escape are no longer possible. People in the west are
most of the world’s population, “which” neither magical novels that endow poverty
and foolishness with charm nor the exoticism of popular literature manages to fathom.
This is the invisible emotional reality Kiran Desai uncovers as she describes the lives
functions well outside of the Indian context. Its uniqueness is based on the fact that it
describes an existential situation of being cast away, homelessness and alienation. The
title mentions some ‘loss’. The title refers to the richness of some kind balance with
the ‘loss’. We all search for a wider world or an understanding of the wider world. It
certainly has richness to it, a gain to it, but it is balanced by a certain feeling of
rootlessness or a loss of connection to something that has gone on for generations and
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4.8 SOCIO-POLITICAL ISSUES OF IMMIGRANTS – GORKHAS & NEPALES:
Indian Nepalese who demanded a separate state for themselves during the 1980s. The
Gorkha National Liberation Front (GNLF) has been formed mainly by the Indian
Nepalese youth. These youth are fed up with their minority status in a place where
they are in the majority. The GNLF has taken a vow to get their demands fulfilled
unconditionally. Desai has highlighted this complex picture of terrorism and political
They wanted their own country, or at least their own state, in which to
manage their own affairs. Here, where India blurred into Bhutan Sikkim,
and the army did pull-ups and push-ups, maintaining their tanks with
Khaki paint in case the Chinese grew hungry for more territory than Tibet,
it had always been a messy map. The papers sounded resigned. A great
amount of warring, betraying, bartering had occurred; between Nepal,
England, Tibet, India, Sikkim, Bhutan; Darjeeling stolen from here,
Kalimpong plucked from there-despite, ah, despite the mist charging down
like a dragon, dissolving, undoing, making ridiculous the drawing of
borders. (9)
In this context, Kiran Desai has powerfully presented the deeply disturbing
social and political trends. These trends are signifying the worst social, cultural and
political turmoil in the post-modern era. The rebels want ‘Gorkhaland for Gorkhas’.
But no such neat solution is plausible in the face of the intricacies of ethnicity,
culture, language and class, even in this small piece of India. Desai is more interested
in the movement than the movement itself so. It is the poignant story of the common
people, the bleakness. It is the story of hope and ultimately resigning oneself to the
realities of life in a turbulent society. Being away from one’s home and country forces
certain curbs on oneself. There is a loss of certain case. This has an obvious effect on
the writing also. The writer of the novel has inherited from her parents certain
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The Nepalis considered that in their own country. They are treated like
slave. So they want to fight to manage their own affairs. They want everyone to unite
under the banner of Gorkha National Liberation Front. They want to build hospitals
and schools, and provide jobs for their sons. They want to defend their own
homeland. The crowd gathered there screamed ‘Jai Gorkha, Jai Gorkha’. Some
supporters came forward and cut their thumbs with their Kukris and write a poster
The national love is aroused in Gyan and Sai when they saw new posters and
read the new slogans painted on the side of government offices. “We are stateless,’
they read. ‘It is better to die than live as slaves.’ We are constitutionally
tortured.”(126) Gyan came to senses observing all those things all around him. There
They gathered to swear on oath to fight to the death for the formation of a
homeland, Gorkhaland. Then, they marched down the streets of
Darjeeling, took a turn around the market and the mall, Gorkhaland for
Gurkhas. We are the liberation army. (126)
‘insurgency’. Noni considers that the Nepali have been there from several
The author draws parallel between the stories of Nepali immigrants in India
and Indian immigrants in the States. All are struggling with the questions of what it
means to be cheap labour, with the questions of rights and identity. The theme of
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alienation plays important role in the novel. The geographical location itself reflects
They (the Judge and Sai) sipped and ate, all of existence passed over by
nonexistence, the gate leading nowhere, and they watched the tea spill
copious ribbony curls of vapor, watched their breath, join the mist slowly
twisting and turning, twisting and turning. (4)
The barrenness is also evident when the author says: “Time might have died
in the house that sat on the mountain ledge, its lines, grown distinct with moss, its
roof loaded with ferns.” (17) Kiran Desai presents the post-colonial setting of
Kalimpong, its diverse ethnic groups and the ongoing Gorkhaland Agitation of the
1980s. The Indian Nepalese want their own country or state a Gorkhaland where they
will not be treated as servants. The young boys roam the mountainside looting houses
and collecting ammunition. Their predicament is contrasted against the Indian who
settled abroad. The narratives highlight in the novel her understanding of the socio-
The Gorkhaland Agitation traces its root to the merger of Sikkim into the
Indian Union and also the rising insurgencies in the north-east India. Ethnic
discontentment in Darjeeling started long before the country saw its independence.
The Nepalese struggle with their cultural identity and the forces of modernization
backdrop Desai has chosen is that of the Gorkhaland movement of 1980s West
Bengal. Throughout the novel, the movement makes the hills a site of violence and
torture. Desai attempts to recreate the atmosphere of the uprising which takes place
because of the feeling of being orient. Thus, these Nepalese insurgents are the victims
of orientalism in India. Through the picturization of the Gorkhas and Nepalese and
their problems, the novelist depicts their social reality and political riots.
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4.9 SOCIAL REALISM THROUGH CHARACTERIZATION OF JEMUBHAI PATEL:
The Judge Jemubhai Patel is one of those ridiculous Indians who could not
get rid themselves of what they had broken their souls to learn. His Anglophilia can
only turn into self-hatred. These Indians are also an unwanted anachronism in
postcolonial India. Here the long-suppressed people have begun to awaken to their
1939. But his dilemma is different from Ashima’s or Ashok’s as he had stepped in an
England where Victorian values still lingered. His identity crisis is mainly due to his
colour. He becomes the victim of colonization. Even after spending a lifetime in the
host country, Ashima and Ashok respect their culture and Indian heritage. But
Jemubhai Patel returns with hatred for Indian culture. After banishing love, human
earth and every relationship from his life, he lives in a dilapidated house (Cho Oyu)
Jemubhai completed his education in England but he could not enjoy beauty
solitude. Rich persons always kept pet animals for hobby. Mutt, pet dog of Jemubhai,
Mustafa cat of Lola and Noni are taken care by them. There are cows which booms
like foghorns through mist. There is rooster of uncle potty from where kookar raja
sent big Kukrookoo up like a flag. Its sound is described as silly and loud as if calling
everyone to circus. Due to cloudy atmosphere in Kanchenjunga there was not clear
broadcast of radio television. Such is the reality of nature and politics. The novel has
exile and homecoming. A retired judge Jemubhai Patel feels alienated, depressed and
isolated in England.
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Jemubhai Patel is also the representative of the orient or the othe in England.
He was unable to acquire the manners of the English. He started to think that he is
inferior to these English. He feels ashamed of his odd-coloured skin and his peculiar
accent. In the Cambridge University, he always encounters racism and isolation. But
his stay in England for few years developed some feelings in his mind. He begins to
dislike his Indian heritage. He has become all anglophile, as he shows his affection for
English biscuits and penchant for tea made the English way, even after his arrival in
India. He is disgusted by the backward ways of his wife and Indian people when he
returns to India upon completion of his studies. He treats his wife with contempt and
harasses her after a long lasting ordeal. He banishes her from his life:
He did not like his wife’s face, searched for his hatred, found beauty
dismissed it. An Indian girl could never be as beautiful as an English one.
His hatred never extinguishes but kindles his disillusionment. (168)
He mimics the treatment he received in England and looks down upon his
fellow Indians particularly those of the working class. The novel depicts in its many
details the tragedies of a Third World country just freed from colonialism. It presents
the boring and mundane life of its characters in the beautiful surrounding of
the past and the present. He is caught between his days in London and his slow and
mundane life in the crumbling house at Cho Oyu. He is caught between his daughter
and grand-daughter. He is also caught between the Nepali’s struggling for their land
and freedom and his own British world. He showed great regard for his pet dog, Mutt:
The Judge, exhausted from waiting, fell asleep and dreamed that Mutt was
dying for a moment she came all of a delirium, gave him a familiar look,
wagged with a heroic effort and then, in a second it was gone, the soul
behind the eyes. (312)
Indian accent, pronunciation and above all, the despising as well as discriminatory
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racial looks of the whites. He is also a self-alienated personality. The judge becomes a
marginalization. In him, Kiran Desai has very precisely portrayed the suppressed
For the entire day nobody spoke to him at all, his throat jammed with
words unuttered, his heart and mind turned into blunt aching things, and
elderly ladies, even the hapless -blue-haired, spotted, faces like collapsing
pumpkins – moved over when he sat next to them in the bus . . . the young
and beautiful were no kinder . . . girls held their noses and giggled, “phew,
he stinks of curry! (39)
While searching for room in England, Patel was rejected twenty two times
and finally got a room only because the land lady, Mrs. Rice. She was in need of
money, she didn’t want him either. He is unable to interact with the locals. The
anguish of the diasporic is similar whatever may be their social status. The England
that he sees seems to be totally different from what he had expected to find on the
The England in which he searched for a room to rent was formed of tiny
grey houses in grey streets, stuck together and down as if on a glue trap. It
took him by surprise because he had expected only grandness, hadn’t
realized that here too people could be poor and live un-aesthetic lives. (38)
Desai takes the narrative in a parallel way by focusing on the life of the
character, Jemubhai Patel. A retired judge, Patel faced such a discomfort in adjusting
to the new culture when he went to Cambridge for his studies and for his survival. He
was almost disturbed by the new culture and with the confusion of finding many ways
‘unknown citizen’ in both foreign and in his native land. He sees everything over
there modernized. Jemubhai Patel starts completely losing his emotional balance. The
colour complexion makes him to feel inferior. This culture variation spreads like a
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disease in almost every Indian who goes to a foreign land for their living. Desai
posted in Uttar Pradesh. Later, he is posted in West Bengal. He directs his frustration
towards all Indians and especially towards his wife because he is a product of a male
chauvinistic society. He treats his wife most inhumanely. He abuses her physically.
Finally, he deserts her for no fault of hers. He felt that his wife, too uncivilized,
should not be taken to official parties. Thus the Judge’s wife who has really provided
the hands of the British and then at the hands of her husband. He feels compunction
over being violent and inhuman to his wife. Only after he lost his Mutt, he wondered:
“If he had killed his wife for the sake of false ideals, stolen her dignity, shamed his
family, shamed hers, turned her into the embodiment of their humiliation.” (308)
The retired judge belonged to a family of the peasant caste. At his youth, he
‘Other’ by the English. “His colour, his religion, his language, all made him the
embodiment of ‘other’ in England and he began to question his identity and his
England, he was amazed by the sights of greeting. He wandered a lot to find a room.
He got a room situated on the side of railway station. The landlady westernized his
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name by calling him James instead of Jemubhai. He was unable to adjust himself with
English because he started to think that he is a marginalized and he could not acquire
the centre. He retired into solitude. The solitude became a habit. He was conscious of
of the ridiculous Indians in England. He returns after three years’ stay in England.
During this period, he had hardly spoken to anybody. He followed the same silence in
India as well. Everyone in his house tried to know the cause of his silence but they
could: “His new ideas of privacy were unfathomable.” (167) Jemubhai, the victim of
otherness, acquires the feeling of superiority over his wife after returning to India. He
His wife is a traditional woman who prefers to live in the house. His distaste
and his persistence made him angry. In public, he never spoke to or looked in her
direction. She was also accustomed to his detached expression. She did not
accompany her husband on tour. She was left alone in Bonda. She had spent nineteen
years within the confinement of her father’s compound and she still was unable to
contemplate the idea of walking through the gate. In the words of Gayatri Spivak:
The wife of judge is a subaltern. She is unable to speak and she is doubly
marginalized. When the patels were invalid for the party arranged at Mr.
Mohan, Jemubhai unwillingly took her there. He humiliated her in that
party. He used many insulting words for her, but she uttered nothing. He
poured a venomous question: “Are you just incredible stupid? (2010: 304)
At this moment, she gathered all her courage and replied that he is the one
who is stupid. Jemubhai tried to rape her in a violent. He ignored her, hit her and on
one occasion, thrust her head down the toilet. A critic Gilbert says: “The more the
subaltern is seen as a theoretical fiction . . . the more the suffering and exploitation of
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The judge did not like the growing intimacy between Sai and Gyan. He felt
was someone with plans. He felt a sinister urge to catch the boy off guard. He tried to
test his knowledge of poetry. Gyan was irritated by the unnecessary enquiry made by
the judge and wanted to escape at once. He left for his house. Sai came to say sorry to
him. He gazed at Sai as if he were eating her alive in an orgy of the imagination.
create a bond of relationship with English and Indians. In England, he was the other,
not establish himself. His Anglophilia turned into self-hatred: “Such Indians are also
begun to awaken to their dereliction to express their anger and despair.” (234)
and Gyan is also interesting from the point of view of nature-man relationship. The
with nature. The narrative constantly swings between the present and the past. Desai
views the entire community of Nepalese of Kalimpong and Darjeeling as the orient.
They are poor, illiterate and insignificant. In the novel, Gyan, the Nepali, is presented
as an educated ambitious man but he is a poor man living in sordid atmosphere of the
Bong Barti. He is a tutor of Sai. He develops a romance with her. Gyan is aware of his
status in the house of the judge. He considers himself inferior to Judge and everybody
related to him. Gyan’s painful realization of class, his feeling of being orient in the
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family of Sai, drives him to join the Gorkha National Liberation Front Movement.
Gyan is the kind-hearted, soft-spoken young man Sai fell in love with.
The society in which the old judge lives with his granddaughter is Sai. Sai is
station, Kalimpong. She is the last remnant of British Empire. Her neighbours are
Uncle Potty, Father Booty, the sisters Noni and Lola who have India’s only broccoli
grown from English seeds. Sai has started a relationship with her Nepalese Maths
tutor, Gyan. But their romance is disturbed as Gyan rediscovers his Nepalese heritage,
and joins the insurgents. Gyan had a feeling of history being wrought, its wheels
churming under him, for the men were behaving as if they were being featured in a
documentary of war. Gyan could not help but took on the scene already from the
angle of nostalgia.
who is in love with him. Her life had continued in Kalimpong until she met Gyan. Sai
used to think about Gyan. But he did not respond her love at the beginning. Whenever
they sat together, Gyan used to cook in another direction. Sai thought herself pretty.
But soon she realised that the beauty was a changeable thing. When they sat together,
they used to think to run away. Their departing hour is very painted for them. They
were restless and angry because they had to wait for a week for the next meeting.
Gorkha community. His great grandfather is sent to Mesopotamia where the Turks
kill him. Many of his family members fight and die in Burma, Gibraltar, Egypt, and
Italy for the British army. He leads the poor life of native Indians. He is an active
member of GNLF (Gorkha National Liberation Front) which fights for a separate
Gorkhaland.
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Gyan has felt embarrassed while eating with Sai. He is puzzled about her
finickiness and curtailed enjoyment. She does not like his slurps and smacks. With
fake Englishness, Jemubhai eats even chapatis, puris, and parathas with knife and
fork. He insists Sai also to do the same in his presence. Sai feels proud for her
behaviour. She considers it as a status symbol. Gyan thinks that she may be masking
Gyan’s ancestors had left their village in Nepal in the 1800s. They arrived in
Darjeeling to work on tea plantation. The imperial Army came measuring potential
soldiers in villages all over the hills. His great-grandfather was chosen as a soldier. He
got married and begot three sons. But he became the victim of Turkish bullets. After
his death, his eldest son was employed by the army. He was also killed in Burma
while defending the British against the Japanese. His brother was employed who died
in Italy. Gyan’s father escaped the recruitment. He taught in a tea plantation school
near Darjeeling.
Gyan and Sai were still unable to forget the presence of each-other. They
were spending most of the time in the company each-other. Their romance was
flourishing. They pushed the political trouble in the background. They called each
other by the nicknames and phrases of endearment. They aimed at different placed.
They also entertained themselves by watching movies and by visiting zoo and ancient
bars.
He was buying rice. At that very moment, he heard the shouting of the people. He was
surrounded by a procession led by young men holding their kukris aloft. Most of the
young men were his college friends. He tried to call them but they did not listen him.
They were shouting “Victory to the Gorkha Liberation Army”.(156) Gyan was
stunned for a moment and was unable to take any decision. He had a feeling of history
being wrought. He also had a feeling of nostalgia. The man in procession said that no
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Nepali owned any tea garden. Their children are not taught their language in school.
They are unable to compete for jobs. Gyan was eager to join:
Desai made Gyan to forget his national identity when he was involved in
love-making with Sai. She remembers delicate observations she had made during her
own explorations before the mirror that had been overlooked by Gyan. They started to
play the game of courtship everywhere. As they were young, they forgot the world
around them. They had not paid much attention to the events on the hillside.
Gyan’s role was overdone, when Sai demands that he should feel ashamed
of his and his family’s poverty. Describing a country, landscape is one thing, but
creeping into the skins of the characters is another. The Gorkha characters remain
shallow, like caricatures in Bollywood films. Kiran Desai overdoes it with the
dialogue between Gyan and Sai. The description of Gyan’s visit to Kathmandu was
and stupas.
She experiences hybridity by reading Lochinvar and Tagore along with economics
and moral science. She practices Highland fling in tartan and Punjabi harvest dance in
dhotis. She sings national anthem in Bengali and recites a motto in Latin. She learns
Indian and English at the same time, inheriting the latter for her way of life.
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Sai is a westernized Indian brought up by English nuns and feels estranged
in India. Her mastery of the English language and little knowledge of Hindi makes her
she is caught between two extremely different cultures, the Indian and the Western.
Sai is orphaned when her parents are crushed by a local bus in Moscow and
is compelled to leave the convent and stay with her grandfather. By virture of her
anglicized education, she too is “an estranged Indian living in India”.(210) She has a
brief romance with Gyan. He despises the bourgeoisic life style of Cho Oyu and is
sympathetic with the cause of the Gorkha National Liberation Front (GNLF). He
therefore rejects a potential relationship with Sai because she becomes a “reflection of
Sai is also the representative of the Third World country. She is a romantic
girl who developed an affair with her Maths tutor Gyan. Sai does not dwell in the
past. She is glad to be out of the convent where she lived while her parents were
abroad. She is young enough to live in the movement. This helps her to overlook
some of the issues with her boyfriend Gyan, the issues that work just under the
surface of their affair. Sai always thinks about him. She thinks whether her desire
could be fulfilled:
Romantically, she decided that love must surely reside in the gap between
desire and fulfillment, in the lack, not the contentment. Love was the ache,
the anticipation, the retreat everything around it but the emotion itself. (2-3)
Day by day, their love flourished. They started to make love at public places
as well. Sai was very happy in the company of Gyan. But Gyan was affected by the
Gorkhaland Movement. He was torn between his love for Sai and his love for his
motherland. He became indifferent towards Sai. Sai understood the change in his
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nature: “Sai at Cho Oyu also sat contemplating desire, fury and stupidity. She tried to
suppress her anger, but it kept bubbling up; she tried to compromise her own feelings
Sai is a romantic girl. She dreams of a romance with her Maths’ tutor, Gyan.
In an old cook, she finds a ready friend and confident. He brings up Sai as best as he
can. Sai’s neighbours are an odd assortment from Uncle Potty who loves his tipple
and Aunt Moni and Lola. The aunts take care of Sai’s sketchy education. The cook is
eager to hear something from his son Biju. He lives in United States to earn his living.
He belongs that tribe of Indians that keeps shifting from one lowly paid job to
another. His whole life sets the pace for his final act of despair and defiance. When
fed up and left alone in a system, he turns homewards. When he returns to his native
land, there is a huge change which has taken place in the hillsides.
When Sai arrived at Cho Oyu, she felt change in atmosphere. She was
travelling by car. There was forest making ‘sss tseu ts ts uuu sounds’. Sai entered in
enormous space where there were mountains covered with mist, swollen forest,
sounds of hollow knuckled of bamboo, the sound of jhora that ran deep in the
decollete of the mountain. According to Sai, the convent system is fully obsessed with
the notions of purity and morality. She thinks that those people are very much talented
. . . cake was better than laddoos; fork, spoon, and knife better than hands;
sipping the blood of Christ and consuming wafer of his body was more
civilized than garlanding a phallic symbol with marigolds. English was
better than Hindi. (30)
affection for her. She is accompanied by the cook at home. Though Sai and Jemubhai
live as strangers under the same roof, he insists her to follow the English manners at
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home. We find that Sai’s mother was not accepted warm heartedly by her maternal
grandfather. So, like Sai, she too was bound to stay at the boarding school. Sai’s
father was a spaceship pilot. He professionally was so competent that he was chosen
among his colleagues to become the first Indian to go to the space. The love
relationship between Sai’s parents has been described by Kiran Desai in such a
manner that one feels the presence and participation of natural environment in their
Finally, she leaves the Judge’s house in search of a home that would really
make her happy. Biju belongs to the shadow class of illegal immigrants in New York.
He tries to eke out an existence without being caught in an alien culture which is not
kind to him. Thus, the judge Sai and Biju suffer from rootlessness, alienation and
The novel follows the journey of Biju. He is an illegal immigrant in the US.
He is trying to make a new life. Sai is an Anglicized Indian girl living with her
grandfather in India. Almost fifty years after the jingle went to England, Biju survives
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dilemma over his identity. But it fails to penetrate his personality. This social reality is
present everywhere. Biju is torn between two cultures and drifts in an alien land with
the American dream is important section. His deplorable living conditions in America
are also very important section of this novel. In his first letter, Biju writes:
mind to think of the “roti prepared using choolah is better than the roti cooked in a
star hotel”. It picturizes the village life that serves as a complete contrast to
mechanistic life at present. Desai uses the food as a symbol of identity. It highlights
the class discrimination which forms a major gap between two cultures. This novel
illegal immigrant in New York. He works in one hellish kitchen after another. He is
exploited. He is poor. He is terribly lonely and homesick. The sections of the novel
that deal with Biju’s life in New York are the most powerful and the most acutely
treatment. He realizes the truth that it was horrible what happened to Indians abroad
and nobody knew but other Indians abroad. It was a dirty little rodent secret.
remembered his village where he lived with his grandmother. The village was buried
in silver grasses that were taller than a man and made a sound shuu, shuuu, shu, shuuu
as the wind turned them this way and that. He remembered dry gully through the
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grasses. There was a tributary of Jamuna. Men travelled downstream on inflated
buffalo skins, the creatures, very dead legs, all four, sticking straight up as they sailed
along. On Diwali, the holy men lit lamps and put them in the branches of the peepal
tree and sent them down the river on rafts with marigolds. Kiran Desai throws light on
how culture of human being interferes in the nature and creates serious impact on it.
Biju remembers everything about his village. He used to sit with his father outside of
home in evening. His father was quite happy with that life:
. . . How peaceful our life is! How good the roti tastes there it is because
the atta is ground by hand, not by machine and because it is made on
choolah, which is better than anything cooked on gas or a kerosene stove.
Fresh roti, fresh butter, fresh milk, still warm from buffalo. (103)
Poor and lonely in New York, Biju remembers his village. Lying on the
basement shelf in sordid squalor, he thought of his village where he had lived with his
grandmother:
. . . Biju and his grandmother with her sari tucked up . . . on diwali the
holy man lit lamps and put them in the branches of the people tree and
sent them down the river on rafts with marigolds - how beautiful the sight
of those lights bobbing in that young dark . . . how peaceful our village is.
How good the roti tastes there . . . fresh roti, fresh butter, fresh milk. Still
warm from buffalo . . . (102-103)
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In New York, Biju feels tormented by the cross commercialism, rampant
racism and rapacious ruin perpetuated by the neo-colonial exploitation. It shows the
neo-colonial exploiting the social values. He eventually comes back to India robbed
of his belongings. All his NRI drams of “holding green cards and passports . . .
dollars me kamaenge, pum pum pum” (298) comes to naught. But yet the reader finds
a quaint satisfaction in the union of father and son in the backdrop of a disturbed
Kalimpong. At last, Biju feels safe and at peace compared to his lonely life in New
Biju migrates to New York for better opportunities, living standards and
wealth. In him, Kiran Desai has portrayed the impact of the politics of globalization
and post-colonialism on the economic structure of the once colonized nation. When
an advertisement appears in the local paper for drudge staff in America, Biju applies
and goes through an interview in Kathmandu, Nepal, and finally gets selected.
However, while standing in queue for visa processing at the U.S. embassy, he
observes the pitiable conditions of her applicants and undergoes feelings of disgrace
and humiliations:
Biju makes the return journey home out of fear of the greatest loss that can
Biju stepped out of the airport into the Calcutta night warm, mammalian.
His feet sank into dust winnowed to softness at his face and he felt an
unbearable feeling, sad and tender, old and sweet like the memory of
falling asleep, a baby on his mother’s lap. (300)
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His never ending tale of pain continues till a gang of robbers stripped him of
all his material possessions even his dignity. He reaches the judge’s house as a figure
in a night gown, a symbol of the dispossessed. Through the apathy of the life of Biju,
she presents the status of illegal immigrants and the feeling of alienation often
The dawn of twenty first century, with the emerging trends of liberation
and exodus of public has witnessed a social phenomenon where native and
ethnic identities are gradually seeking their moorings in the wider centres
existing in the axis of Globalization. Uncontroversially, it acknowledges
the fractured and unidentified, identity of the marginalized communities
for better and wider national solidarities. The idea of globalization made it
essential to negotiate how to reconcile the creeping trends of universal
civilization along with ensuring the due status to native cultural practices.
The concept of universal civilization and “social imperialism” requires the
unconditional acceptance of emerging ideologies but simultaneously it
also demands a reference to the forgotten past as means of spiritual and
psychological consolations. The homogenizing spirit of globalization
espouses non imperialistic ideologies but it often shadows the basic
identity of minorities and induces new modes of marginality in
ethnocentric socio-culture fabric. However the discourse of
postmodernism has searched out the spaces wherein “difference” and
plurality are accentuated. Spivak and Ahmed have tried to locate such
centres which control Third world subjects corresponding to their own
constitution of margin. (2011: 8)
Kiran Desai has used humour and satire in the episode of the second wave of
immigrants where Biju succeeds in attaining the tourist visa. He asked the watchman:
But Biju, the luckiest boy in the whole world, lived in a miserable condition
the guise of free housing. Biju led a very miserable life in America. He was unable to
get the Greencard. Towards the end of the novel, he decides to return to India. The
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ending finds Biju flying back to India out of concern for his father. Yet on his journey
back home, he is robbed of his belongings, gifts and the little savings hidden in the
fake sole of his shoe. He ends up half-naked at the foot of the mountain to Kalimpong.
Through the character of Biju, Kiran Desai shows that migration is a sword with sharp
blade on both sides. The feeling of loss when one leaves one’s motherland is just as
intensive and dreadful as having to leave a foreign home, due to deportation when one
The Bengali sisters see beyond their own concepts of India when they
witness the rebellion and when the Gorkhalis poach their property and build hutment
over it. Gyan and Budhoo are Indians. But in their own country, they are treated as
others under the tag of Nepalese. For both Biju and father Booty, India is a land of
hope and desire. ‘Home is where heart is’ fits on Father Booty aptly. He gives his
whole life to India only to be told that he does not belong here anymore and is sent
foreign land and returns to find that what he claims to be a home is a contested
territory. Thus for all the characters, home is elsewhere. Thus the novelist has
presented a realistic and touching picture of the palpable life of the Diasporas. In
from one low-paid restaurant job to another, living in seedy squalor with groups of
other immigrant men, spurred by his father, Biju had come to America to realize the
American dream, but the reality had something else in store for him. He recognizes
that “It’s a whole world of basement kitchens” and in exasperation dubs it, “they call
this novel. In it, through the character of Biju, Desai expresses her own feelings and
emotions. Biju acts as the mouth piece of Kiran Desai. Biju feels alienated in New
209
York, where he switches from one job to another and from one hotel to another. As an
immigrant in New York, he has no one there to help him. So he feels isolated in the
Kiran Desai captures the rhythm of life in her characters who are finely
imagined and persuasive. The Inheritance of Loss is a novel about dislocation. The
way in which Desai communicates the immigrant’s daily despair, his desire to only
comment, the imaginary homeland – shaped hole at the heart of his foreign experience
– gives it its unique bleakness and compassion. Transitions between continents and
eras consist of the natural connections among the characters. Biju and his father think
constantly of each other. Biju writes moving, funny letters home. While his father
dreams of Biju making it big, the son is trying to stay afloat in the underground
economy of New York city, bobbing from joy to joy, sleeping among rats, scratching
Biju and his father’s once easy relationship has become complicated by
distance. The cook mistakenly believes that only Biju can help other young
immigrants to survive in the United States. Desai attempts to show the conflict
between Biju’s struggle to survive in New York and the steadily gathering insurgency
of men and guns in the hills of Kalimpong. Desai portrays a world on the cusp of
are stubborn and arrogant, often refusing to cast off the strictures of colonialism yet
continuing to struggle with loss of identity, loss of roots, poverty and the trappings of
Desai creates the same Indian atmosphere in New York where Biju works in
world of illegal aliens, the shadow class condemned to movement. Biju put a padding
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of newspapers down his shirt. Sometimes, he took the scallion pancakes. He inserted
them below the paper. He was inspired by the memory of an uncle who used to go to
the fields in winter with his lunchtime parathas down his vest. But even this did not
seem to help.
character of Biju. Biju, the son of the cook at the Judge’s house, belongs to the
shadow class of illegal immigrants in New York. He spends much of his time dodging
the authorities, moving from one ill-paid job to another. The cook has harboured
many desires from his son. Biju would earn enough money in America. Then the cook
will retire from his job and he would play with his grandchildren. But Biju was unable
to settle down in America. He has to change many jobs for better earning. The cook
had thought that as he was cooking English food, he had a higher position than if he
were cooking in India. This is the different social realities in the two countries.
Once Biju was serving at the Baby Bistro, above, the restaurant was French,
but below in the kitchen, it was Mexican and Indian, ‘On top, rich colonial, and down
below, poor native.’ In the same restaurant, a Paki was tired to work with Biju. He
was relieved to have the Pakistani companion. When he informed his father about his
new companion, the cook asked him to keep himself away from his new companion.
Bistro, “Above, the restaurant was French, but below in the kitchen, it was Mexican
and Indian. And, when a Paki was hired, it was Mexican, Indian, Pakistani”.(21) At
Le Colonial, “On top, rich colonial, and down below, poor native. Colombian,
Tunisian, Ecuadorian, Gambian”. (21) The Stars and Stripes Diner is shown as a place
where the American, Indian and Guatemalan flags fly together. The novel also shows
how Indians get accustomed to various cultures all over the world. Thus, the novel
shows and interprets various cultures, different societies and social dichotomy.
211
Desai tried to present an old of Desis against Pakis. Soon Biju and the Paki
became conscious about their nationality and began to quarrel. The sound of their
fight had travelled up the flight of steps and struck a clunky note. They might upset
the balance, perfectly first world on top, perfectly Third World, twenty-two steps
Italian Restaurant. Here he was treated respectfully. Biju was to deliver orders on a
bicycle. Biju becomes happy when he used to deliver not-and-sour soups egg too
young to three Indian girls. Kiran Desai tried to present the nostalgic feeling of Biju
when he was in the company of these Indian girls. The girls also showed some regard
for Biju. They give him extra tip to buy topi-muffler-gloves to protect him from the
cold of winter:
The shiny-eyed girl said if many ways so that the meaning might be
conveyed from every angle-that he might comprehend their friendliness
completely in this meeting between Indians abroad of different classes and
languages, rich and poor, north and south, top caste bottom caste. (50)
There was constant complaint by the customers that the food was cold. Biju
cannot bear the cold while delivering the orders on a bicycle. He began to weep from
management company. The Superintendent earned his income by illegally renting out
basement quarters by the week, by the month and even by the day. So the illegal
fellows used to live in that building. Thus Biju is one of such illegal immigrant. Being
cruddy basement kitchen of Manhattan. Biju also presents the postcolonial issue of
race and ethnicity. He remembered what they said about black people at home. This
shows the ethnical and racial social realities: “Once a man from his village who
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worked in the city had said, “Be careful of the hubshi. Ha, ha, in their own country,
they like monkeys in the trees. They come to India and become men.” (58)
Biju met Saeed Saeed at the Queen of Tarts bakery. He was admired in the
United States of America. He came from Zanzibar. Zanzibar is full of Indians. His
grandmother is also from Zanzibar. Saeed Saeed expressed his liking about Indian
movies, stars and songs. Biju felt very proud of his country’s movies. Biju
remembered his previous fight with a Pakistani, the usual attack on the man’s
religion. Though Muslim, Saeed Saeed was a different man. Biju was eager to be his
friend. So he arranges the abode for the illegal immigrants. He is always surrounded
by such illegal immigrants. Biju liked muscles but hated Pakis. Biju thought that India
was so advanced that black men learned to dress and eat. On their arrival, the black
men ran about to seduce every Indian girl. So Biju disliked all black people:
This habit of hate had accompanied Biju, and he found that he possessed
an awe of white people, who arguably had done India great harm, and a
lack of generosity regarding everyone else, who had never done a single
harmful thing to India. (77)
Saeed Saeed was hired by the imam to do the dawn call to prayer at the
street mosque. It was his first job in America. Actually, he was from Africa. He went
to Zanzibar, where he was hailed as all American. He used to romance with the girls
in the Stone Town. When he achieved something in his life, the fathers of the girls
tried to marry their girls to Saeed, but he escaped. He has great feelings for his nation.
The country recognized something in Saeed. Sometimes Biju felt so restless that he
couldn’t stay in his skin. He felt a pang for village life. Biju couldn’t help but feel a
feast of anger at this father for sending him alone to this country. But he knew he
would not have forgiven his father for not trying to send him, either. Without green
card, he could not leave. Saeed was also tired by managing the illegal immigrants. His
213
mother was dispensing his phone number and address to everyone who came to her.
Mere tribes more tribes. I wake up, go to the window, and there - MORE
TRIBES. Every time, I look -ANOTHER TRIBE. Everybody saying, ‘Oh,
no visas anymore, they are getting very strict, it so hard, and in the
meantime everybody who apply, EVERYBODY is getting a visa. (96)
Saeed wondered why they gave visa to these tribes. He would not answer the
phone call. Biju wanted Saeed to help the immigrants. He remembered that he also
faced the same problems on his arrival there. He was asked to go back to India. But
his friend searched job for him. Biju started his life of suffering in America. Now he
was tired of this life and wanted to return to his motherland. He knew that to leave the
country, one must have the green card. One can even marry a disabled or mentally
love-affair. Gyan’s Nepalese family lives in poverty, struggling to make ends meet
while providing him with a good education. But he falls under the spell of a Nepali
uprising. He is affected by his heritage of Third World. Gyan cannot go beyond this
limit. Biju tries to establish himself in a New World, in New York, but he carries the
Third World identity with him. Working as an illegal immigrant in New York City’s
restaurant exposes him to harsh conditions and humiliations. Though he is in the high
rise capital of the world, in the Manhatten basements we think, he is in Third World:
Biju at Baby Bistro. Above the Restaurant was French, but below in the
kitchen it was Mexican and Indian. Biju at Le Colonial . . . on top, rich
colonial and down below, poor native, on to the stars and stripes Diner.
All American flag on top, all Guatemalan flag below. (21)
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Biju is condemned to menial labour and abject living conditions. Tired by
the labour and changing jobs, Biju longs to return to India. He becomes the victim of
the ‘third world’ frustration even after his return. On his arrival in India, he is robbed
of his belongings. The story of judge is mirrored in the story of Biju who sets off to
New York to make his fortune in the land of plenty. His father has harboured many
hopes from him. He lived an isolated and bored life. His life is a miserable chain of
illegal jobs in cheap restaurants. Biju himself is consistently dazzled by the world.
undocumented workers, rich and poor and herself and her subjects. Sai, who was
educated in a convent school, is close to the semi-literate cook. But when she visits
his quarters, ‘he was ill at ease and so was she, something about their closeness being
exposed in the end as fake, their friendship composed of shallow things conducted in
but rather the relations of recognition between immigrants, exile, and foreigners who
all grapple with the weight of history and society. Kiran Desai’s realistic portrayal of
life on two continents, diasporic on multiple levels, demonstrates a deep concern from
the human and social condition. In New York, Biju works in different restaurants as
experiences in the West: “Biju joined a shifting population of men camping out near
the fuse box, behind the boiler, in the cubby holes, and in odd-shaped corners that
once were pantries, maid’s room, laundry rooms, and storage rooms.” (51-52) Kiran
Desai delineates the sense of loss experienced by people of different social strata and
215
The predominant traits of existentialism are alienation, quest and conflict.
Aspects of alienation and conflict are epitomized in the lives of the
protagonists. The retired judge, Sai, Gyan and Biju are a study in
alienation and existential angst. (2012: 172)
In this novel, Desai takes her landscape as the air of India rather than its
ground soil. She is not after a depiction of the geography and history of her forbears’
country, but in the essence of a state shadowing its descendants. Her grasp is on the
Her range is not a limited one restricted to only home affair. With a wide
range of relations, she has presented the tense, chaotic, antagonistic and
shifting locations and also the precarious, disgraced and displaced lives...
(254)
unsentimental edge. It is not just a case of launching diatribes against the West or
elitism. She makes it clear that India is wrought by disparity, Biju is full of prejudice
and the Liberation Front consists of boys ‘taking their style from Rambo.’ At the end
of the novel, there is no formulaic redemption for the characters, no facile solutions to
the world’s problems. Kiran Desai’s 324-page novel The Inheritance of Loss cannot
In this novel, Kiran Desai has not only portrayed how Americans look at the
people from Third World countries but also how the immigrants view the Americans.
Racial situations and reactions have come up at many places in the narrative.
The love-affair between Sai and Gyan is a conscious creation of the author
to promote intercultural and intersocial dialogue between the Neps and the Bengis.
Similar is the case of Biju and Saeed who are in the U. S, meeting and mingling with
216
people from different nationalities. It shows and promotes the interconnections and
interactions between two or more different cultures, societies, religions and nations.
By the representation of difference in terms of social and ethnic status even between
her two main protagonists, Desai calls for intercultural interaction which include
interaction with foreign cultures, consciousness of one’s own culture, stress tolerance,
people who reach America in search of a better future. Biju’s experiences are
reflective of the ‘shadows class’ of illegal migrant workers. Kiran Desai being an
Indian might have experienced the same anxiety as a foreigner. This novel reflects
describes how human kindness wilts at the omnipresence of suffering, poverty and
injustice.
217
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WEBLIOGRAPHY:
www.relibrary.com
www.en.wikipedia.org/wiki/The Inheritance of Loss
www.buzzle.com
www.google.com
www.rediff.com/news/2006/Jan/30
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