Here’s another chance for you to earn extra credits!
Watch any of the following productions at the Cultural Center of the Philippines:
Die Fledermaus , an Operetta (see details by clicking this link: http://www.clickthecity.com/event/detail.asp?evid=18975 )
Niel de Mesa’s “I Laugh You”
“Mga Obra ni Maestra” (Philippines’ 1st Animé play)
I am giving away extra credit of 20 points for class participation if you are going to see this one. There are only 3 requirements before you earn the contingency credits: 1. Inform me of the date when you are watching it (that means you are responsible in taking care of securing your own ticket booking.) 2. Watch it with your parents/guardians (This saves me the hassle of getting a parental consent. You may also consider this an opportunity to bond with them.) 3. Show me any proof that you saw it, otherwise, be prepared to answer my Q&A regarding the play. Your parents might want to read a review of the play before taking you. I post the article below sourced from clickthecity so you can read the other information about it.:
Koiné One Acts’ award winning play on courtship will be onstage at the CCP for Valentines! Niel de Mesa’s “I Laugh You” comedy and “Mga Obra ni Maestra” (Philippines’ 1st Animé play) will be onstage at the Huseng Batute on February 9 and 10.
Niel de Mesa’s Palanca award winning and critically acclaimed comedy, “I Laugh You” is back due to insistent public demand. A romantic farce about the psychological foibles of courtship, this “laugh-trip” play couples old Tagalog wordplay with speed dating. It will feature Koiné’s best actors; Eliza Agabin and Evert Gandarosa.
The one-act play will run in tandem with the revolutionary multimedia animé play, “Mga Obra ni Maestra”. Considered as one of the best plays of 2007 (PDI Dec 2007), this “Obra” earned standing ovations and accolades at the third Virgin Labfest which was held at the CCP last July 2007. The story revolves on three teens—with funky superpowers under the tutelage of the invincible Maestra. After receiving a text message that their nemesis, General Phorab, is on a rampage, the novice heroes eagerly muster their resolve to the society at large. The only “thing” discouraging them from doing so—are their parents. Will their stubborn resolve to save people suceed in the end or will the fear of being grounded overcome them? This play features the Koiné Elite Scholars; Nympha Gonzalez, Cashlyn Cuarez, and Abbey Gonzalez (cited as one of the best stage actresses of 2007). Both plays were designed by famed haute couturier, Edgar San Diego (President of FDAP). So bring your V-day dates or kids because there will definitely be something for everyone when Koiné comes back onstage this February.
Call 4337886 or (0917)972-6514 to reserve Koiné’s limited seats. Reserved seating only. You can vist Koiné One Acts at www.amazingkoineshows.com or email them at ktfi2001@yahoo.com. Tickets paid before January 15, 2008 can avail of our Php150 per ticket “early bird” promo price. Reserved and tickets bought at the CCP FOH / Box Office after January 15, 2007 will already be Php280 each. (NB: PLEASE ASK FOR STUDENT PRICE. DAPAT MAS MURA. 50% OFF siguro)
Wednesday, January 23, 2008
Week 10: Telephone Conversation by Wole Soyinka
Week 10 Dividing lines: Differences in Class, race, Gender and Ideology
Telephone Conversation
by Wole Soyinka
The price seemed reasonable, location
Indifferent. The landlady swore she lived
Off premises. Nothing remained
But self-confession. "Madam," I warned,
"I hate a wasted journey—I am African."
Silence. Silenced transmission of
Pressurized good-breeding. Voice, when it came,
Lipstick coated, long gold rolled
Cigarette-holder pipped. Caught I was foully.
"HOW DARK?" . . . I had not misheard . . . "ARE YOU LIGHT
OR VERY DARK?" Button B, Button A.* Stench
Of rancid breath of public hide-and-speak.
Red booth. Red pillar box. Red double-tiered
Omnibus squelching tar. It was real! Shamed
By ill-mannered silence, surrender
Pushed dumbfounded to beg simplification.
Considerate she was, varying the emphasis--
"ARE YOU DARK? OR VERY LIGHT?" Revelation came.
"You mean--like plain or milk chocolate?"
Her assent was clinical, crushing in its light
Impersonality. Rapidly, wave-length adjusted,
I chose. "West African sepia"--and as afterthought,
"Down in my passport." Silence for spectroscopic
Flight of fancy, till truthfulness clanged her accent
Hard on the mouthpiece. "WHAT'S THAT?" conceding
"DON'T KNOW WHAT THAT IS." "Like brunette."
"THAT'S DARK, ISN'T IT?" "Not altogether.
Facially, I am brunette, but, madam, you should see
The rest of me. Palm of my hand, soles of my feet
Are a peroxide blond. Friction, caused--
Foolishly, madam--by sitting down, has turned
My bottom raven black--One moment, madam!"--sensing
Her receiver rearing on the thunderclap
About my ears--"Madam," I pleaded, "wouldn't you rather
See for yourself?"
Nigerian poet Wole Soyinka uses irony to depict the absurdity of racism in his poem, "Telephone Conversation.
IRONY
the use of words to convey a meaning that is the opposite of its literal meaning: the irony of her reply, "How nice!" when I said I had to work all weekend.
a technique of indicating, as through character or plot development, an intention or attitude opposite to that which is actually or ostensibly stated.
(esp. in contemporary writing) a manner of organizing a work so as to give full expression to contradictory or complementary impulses, attitudes, etc., esp. as a means of indicating detachment from a subject, theme, or emotion.
Irony, sarcasm, satire indicate mockery of something or someone. The essential feature of irony is the indirect presentation of a contradiction between an action or expression and the context in which it occurs.
In the figure of speech, emphasis is placed on the opposition between the literal and intended meaning of a statement; one thing is said and its opposite implied, as in the comment, "Beautiful weather, isn't it?" made when it is raining or nasty.
Irony differs from sarcasm in greater subtlety and wit.
In sarcasm ridicule or mockery is used harshly, often crudely and contemptuously, for destructive purposes. It may be used in an indirect manner, and have the form of irony, as in "What a fine musician you turned out to be!" or it may be used in the form of a direct statement, "You couldn't play one piece correctly if you had two assistants." The distinctive quality of sarcasm is present in the spoken word and manifested chiefly by vocal inflection, whereas satire and irony, arising originally as literary and rhetorical forms, are exhibited in the organization or structuring of either language or literary material. Satire usually implies the use of irony or sarcasm for censorious or critical purposes and is often directed at public figures or institutions, conventional behavior, political situations, etc.
Some examples:
When something bad has happened:
"This is just great," or "That was just perfect."
In response to a bad joke: "That's just so funny," or obviously feigned (and often weak) laughter "Ha. Ha. Ha. NOT."
When a boring statement has been made: "Wow, great!"
When someone has thoroughly botched something: "Great job!" or "Congratulations!"
When somebody accuses another of something bad/wrong: "Do I get bonus points if I act like I care?"
Used when writing:
The speaker of the poem, a dark West African man searching for a new apartment, tells the story of a telephone call he made to a potential landlady. Instead of discussing price, location, amenities, and other information significant to the apartment, they discussed the speaker's skin color.
The landlady is described as a polite, well-bred woman, even though she is shown to be shallowly racist. The speaker is described as being genuinely apologetic for his skin color, even though he has no reason to be sorry for something which he was born with and has no control over.
In this short poem, we can see that the speaker is an intelligent person by his use of high diction and quick wit, not the savage that the landlady assumes he is because of his skin color. All of these discrepancies between what appears to be and what really is create a sense of verbal irony that helps the poem display the ridiculousness of racism.
"The price seemed reasonable, location / Indifferent"
The first sentence of the poem includes a pun that introduces the theme of the following poem and also informs us that things are not going to be as straightforward as they appear. "The price seemed reasonable, location / Indifferent"
If we read over these lines quickly, we would assume that the speaker meant "Being neither good nor bad" by the use of the word indifferent . But, indifferent is also defined as "Characterized by a lack of partiality; unbiased." This other definition gives the sentence an entirely different meaning. Instead of the apartment's location being neither good or bad, we read that the apartment's location is unbiased and impartial.
However, we quickly learn in the following lines of the poem that the location of the apartment is the exact opposite of unbiased and impartial.
The speaker is rudely denied the ability to rent the property because of bias towards his skin color. This opening pun quickly grabs our attention and suggests that we as readers be on the lookout for more subtle uses of language that will alter the meaning of the poem.
"Caught I was, foully"
After this introduction, the speaker begins his "self-confession" about his skin color (line 4). It is ironic that this is called a self-confession since the speaker has nothing that he should have to confess since he has done nothing wrong. He warns the landlady that he is African, instead of just informing her. "Caught I was, foully" he says after listening to the silence the landlady had responded with.
I hate a wasted journey—I am African
Again, the word caught connotes that some wrong had been done, that the speaker was a criminal caught committing his crime. By making the speaker actually seem sorry for his skin color, Soyinka shows how ridiculous it really is for someone to apologize for his race. To modern Western thinkers, it seems almost comical that anyone should be so submissive when he has committed no wrongdoing.
ARE YOU DARK? OR VERY LIGHT?
Her goodness is seemingly confirmed later on when the speaker says that she was "considerate" in rephrasing her question (line 17). Her response to the caller's question included only "light / Impersonality" (lines 20-21). Although she was described as being a wealthy woman, she was seemingly considerate and only slightly impersonal. The speaker seems almost grateful for her demeanor. Of course, these kind descriptions of the woman are teeming with verbal irony. We know that she is being very shallowly judgmental even while she is seeming to be so pleasant.
The landlady, on the other hand, is described with nothing but positive terms. The speaker mentions her "good-breeding," "lipstick coated" voice, "long gold-rolled/Cigarette holder," all possessions that should make her a respectable lady (lines 7-9). These words describing her wealth are neutral in regard to her personal character, but allow that she could be a good person.
"How dark?,"
After recording the all-important question, "How dark?," the poem pauses for a moment and describes the surroundings to give a sense of reality that shows that the ridiculous question had really been asked (line 10). The speaker describes the buttons in the phone booth, the foul smell that seems to always coexist with public spaces, and a bus driving by outside. His description gives us an image of where the speaker is located: a public phone booth, probably somewhere in the United Kingdom.
The "Red booth," "Red pillar-box," and "Red double-tiered / Omnibus" are all things that one might find in Leeds, the British city in which Soyinka had been studying prior to writing this poem). In addition to the literal images that this description creates, a sense of the anger running through the speaker's mind is portrayed by the repeated use of the word red. This technique is the closest that that the speaker ever comes to openly showing anger in the poem. Although it is hidden with seemingly polite language, a glimpse of the speaker's anger appears in this quick pause in the conversation.
In the end, the landlady repeats her question and the speaker is forced to reveal how dark he is. "West African sepia," he says, citing his passport . She claims not to know what that means. She wants a quantifiable expression of his darkness. His response, feigning simplicity is that his face is "brunette," his hands and feet "peroxide blonde" and his bottom "raven black". He knows that she just wants a measure of his overall skin-color so that she can categorize him, but he refuses to give it to her. Instead he details the different colors of different parts of his body.
"wouldn't you rather / See for yourself?"
As it was meant to, this greatly annoys the landlady and she hangs up on him. In closing, he asks the then empty telephone line, "wouldn't you rather / See for yourself?" The speaker, still playing his ignorance of what the lady was truly asking, sounds as though he is asking whether the landlady would like to meet him in person to judge his skin color for herself. The irony in this question, though, lies in the fact that we know the speaker is actually referring to his black bottom when he asks the woman if she wants to see it for herself. Still feigning politeness, the speaker offers to show his backside to the racist landlady.
Throughout the poem, yet another form of irony is created by the speaker's use of high diction, which shows his education. Although the landlady refuses to rent an apartment to him because of his African heritage and the supposed savagery that accompanies it, the speaker is clearly a well educated individual.
Words like "pipped," "rancid," and "spectroscopic" are not words that a savage brute would have in his vocabulary (lines 9, 12, 23). The speaker's intelligence is further shown through his use of sarcasm and wit in response to the landlady's questions. Although he pretends politeness the entire time, he includes subtle meanings in his speech. The fact that a black man could outwit and make a white woman seem foolish shows the irony in judging people based on their skin color.
Wole Soyinka's "Telephone Conversation" is packed with subtleties. The puns, irony, and sarcasm employed help him to show the ridiculousness of racism. The conversation we observe is comical, as is the entire notion that a man can be judged based on the color of his skin.
Tuesday, January 22, 2008
TRIFLES by Susan Glaspell
The lecture below is based on the following papers:
The Treatment Of Women In Trifles
by Adam Krentzman
The Use of Symbols in Trifles
by A. Dawn Baire
Major Theme
Sexual: In this play women are pitted against men--Minnie against her husband, the two women against their husbands and the other men. The men are logical, arrogant, stupid; the women are sympathetic and drawn to empathize with Minnie and forgive her her crime.
Politics of Gender
The play, Trifles, which was originally entitled "Jury of Her Peers," was a vehicle for the expression of Glaspell's views on the treatment of women in the 1900's.
Through "Trifles" Glaspell is able to bring attention to the poor conditions women faced, and the sexual inequality they encountered.
The way that Glaspell accomplishes this is through the conversation of two women after a murder. The murder is that of John Wright. It is being investigated by the County Attorney and the Sheriff. Both are men and both believe that John Wright's wife killed him but they can't prove it, so they go to the house with Mr. Hale, who was first on the scene, looking for evidence. With them they bring two women, Mrs. Hale, Mr. Hale's wife and a neighbor to the Wright's, and Mrs. Peters, the sheriff's wife.
The men when they go into the house see a very different picture than what the women see. What the men see is a messy house that is poorly taken care of, but no reasons why Mrs. Wright would kill her husband.
Dirty towels
Broken jars of preserves
To the men such things are just " women's trifles" but the women know that Mrs. Peters must have worked hard to make the preserves. Mr. Hale just says, "Well, women are used to worrying over trifles." This is just another example of how the men saw women as inferior and the often hard work that they did as frivolous.
In the end the men are unable to find evidence but are going to convict Mrs. Wright anyway. However the women have found the evidence and know what happened. They conclude that Mrs. Wright was treated poorly by her husband, as many women of the time were, and she just couldn't take it any more. Mrs. Hale and Mrs. Peters feel bad because they never visited Mrs. Wright and they both knew from experience how lonely it can be for a woman who has no children. The men could never come to this conclusion because they can't see a man treating a woman poorly.
The first symbol is found in Minnie's quilting.
Mrs. Peters and Mrs. Hale stumble across some squares that Minnie had sewed, all of which were sewn in a neat and orderly fashion, except one which was sewn haphazardly and carelessly. This befuddles the women and they wonder why she had evidently not cared about this particular square. "Why, it looks as if she didn't know what she was about!" Mrs. Hale comments. The women discuss it for a few moments and impulsively, Mrs. Hale decides to rip a few stitches and resew the piece. Mrs. Peters, who "is married to the law," is upset over Mrs. Hale's abrupt decision, wishing instead that she would leave things alone.
The women discuss whether or not Minnie hoped to quilt it or just knot it and decide she was probably going to knot it. Knotting is not only the easier of the quilting techniques, but is also the way in which John was killed. Minnie tells Mr. Hale that "he died of a rope round his neck" while he slept. Everyone feels this is a strange way to kill a man. Mrs. Peters notes "It must have been done awful crafty and still."
The other symbol is found in a dead bird wrapped in silk
Mrs. Hale says that "[Minnie] was kind of like a bird herself..." She also says that "when she was Minnie Foster, one of the town girls singing in the choir," she was full of life and probably a very happy and pretty girl. The women decide John would not have liked the bird because he was "close," "hard," and like a "raw wind that gets to the bone."
Mrs. Peters exclaims "Somebody-wrung-its-neck." Mrs. Hale says of Minnie, "She used to sing. [John] killed that, too." Although it is never implicitly stated, it is obvious that John killed the bird and because of the "stillness," isolation and loneliness Minnie felt, she killed John.
As previously stated, Glaspell uses symbols to further her theme. Had the men not degraded the women and their "trifles," they may have found the evidence they sought.
Why trifles?
The little things, the "trifles" that the men dismiss, are all that the women need to discern what happened to John Wright. The little bird with its neck wrung parallels John Wright's death. The same knots used in quilting are inferred to have strangled John, and the lack of attention he paid to his home, much less his wife, clearly shows that this man was like all the rest of the midwestern men--uncaring.
The uncaring concern and the lack of attention for detail are what Mr. Hale, the Sheriff, and the County Attorney do not have in their quest for evidence; therefore, everything else around them is petty and insignificant. This distinction includes the women as well.
"Trifles" emphasizes the actual dismissal of the women. If women were not merely relegated to running the farm, then perhaps they would not resort to killing their husbands in an effort to bring some peace into their lives.
Study questions
1. In Trifles how does the physical location of the characters help develop the theme? Who are more fully developed, the two women or the three men? Indicate several ways Susan Glaspell conditions the audience to accept the final decision.
2. In the play, Trifles, women are pitted against their husbands and other men. How are the men and women portrayed?
3. The play has mythic elements: the setting is a bleak landscape; the main characters are never seen on stage; the struggle between them is echoed by the two women and three men on stage. Do these elements lift the play, from its regionalism, and give it a universal importance?
Friday, December 28, 2007
The River Merchant's Wife: A Letter by Li Po (Translation by Ezra Pound)
"The River-Merchant's Wife: A Letter"
While my hair was still cut straight across my forehead
I played about the front gate, pulling flowers.
You came by on bamboo stilts, playing horse,
You walked about my seat, playing with blue plums.
And we went on living in the village of Chokan:
Two small people, without dislike or suspicion.
At fourteen I married My Lord you.
I never laughed, being bashful.
Lowering my head, I looked at the wall.
Called to, a thousand times, I never looked back.
At fifteen I stopped scowling,
I desired my dust to be mingled with yours
Forever and forever and forever.
Why should I climb the lookout?
At sixteen you departed,
You went into far Ku-to-en, by the river of swirling eddies,
And you have been gone five months.
The monkeys make sorrowful noise overhead.
You dragged your feet when you went out.
By the gate now, the moss is grown, the different mosses,
Too deep to clear them away!
The leaves fall early this autumn, in wind.
The paired butterflies are already yellow with August
Over the grass in the West garden;
They hurt me. I grow older.
If you are coming down through the narrows of the river Kiang,
Please let me know beforehand,
And I will come out to meet you
As far as Cho-fo-Sa.
Lines 1-6
This opening stanza of 6 lines is organized around a central image of the river-merchant and his wife as a child, confirmed by the first component of the central image: the picture of a little girl with her hair cut in bangs. (The mark of an adult woman in the ancient Chinese culture was elaborate arrangements of uncut long hair.)Each line contributes to a clearer understanding of the central image of the children. The repetition in three separate lines of the verb "playing" to describe the little girl's activity at the front gate, as well as the little boy's presence on stilts and his circling around where she sits, emphasizes the natural, contented activity of children — almost as a part of the natural world referred to here by "flowers" and "blue plums." This stanza establishes the presence of the "I" and the "you" in the world of the poem.
Lines 7-10
The second stanza places the girl and the boy, the "I" and the "you," as a woman and man in the adult world. In ancient cultures, and in some cultures today, early marriages are customary, and it is often also the custom for the wife to refer to her husband by a respectful title. In the case of this poem the formality of the title is softened by the direct address of "you" added right after it.
Lines 8-9
establish the child-wife's shyness in this formal adult situation by offering a picture of her bent head and averted eyes, a shyness so extreme that she could not respond to her husband, no matter how many efforts he made.
Lines 11-14
The central image of this stanza is the growth of love between the young husband and wife. Her face, which in the first stanza has the bangs of childhood across her forehead, in the second stanza is averted and unsmiling, "stops scowling" in the third stanza. The vows of the marriage ceremony, "till death us do part," are evoked in lines 12 and 13 and poignantly reinforced by the triple repetition in line 13 of "forever." It is unclear whether "climb the lookout" in line 14 is a reference to a ritual performed in this culture by a wife after death, perhaps to look for other offers to marry that might come her way. If it is, it means that the wife as a widow does not want to do this. In any case, it is clear that there is nothing she wishes for after the death of her husband, so deep is her love for him now.
Lines 15-18
An image of separation is developed in these lines as the husband takes on his role as a river-merchant and travels the waters, conducting his work in the world on a distant island. The wife's statement of the length of his absence is expressed in one line, giving it full and emphatic force. And in line 18 the effect of this long absence is brought to full comprehension by the use of the natural image of the sounds of the monkeys that reflect back to her the sound of her own sorrow. The sounds that monkeys make are generally interpreted as chirping, happy sounds, but the weight of the wife's sorrow is so great that she can only hear the monkeys' noise as "sorrowful."
Lines 19-21
The first three lines of this final 11-line stanza are centered on the image of the river-merchant's absence. Line 19 indicates that he was as averse to this separation as she was. In line 20 the phrase "by the gate" (perhaps the same gate they played about as children), indicates that she has returned to this gate and in her memory sees him reluctantly leaving again. For her it is the scene of the beginning of his absence. And evidently she knows this scene well: not only is there moss growing there, but she is aware that there are different kinds of mosses, which she has not cleared away since his departure. They are now too deep to clear away.
Lines 22-25
In line 22 the sadness of the river-merchant's wife is again reflected back to her by the natural world, by the falling leaves and wind of autumn. This image becomes more defined with her observation of the butterflies in the garden, for they are "paired" as she is not, and they are becoming "yellow" changing with the season, growing older together. The butterflies "hurt" her because they emphasize the pain of her realization that she is growing older, but alone, not with her husband.
Lines 26-29
In these closing lines of the poem and the "letter" the river-merchant's wife reaches out from her lonely world of sorrow to her husband in a direct request: Please let me know when and by what route you are returning, so that I may come to meet you. This, however, conveys more than it would at first appear. Her village is a suburb of Nanking and she is willing to walk to a beach several hundred miles upstream from there to meet her husband, so deeply does she yearn to close the distance between them.
Source: Exploring Poetry, Gale. © Gale Group Inc. 2001.
Telling Lives: Exploring Gender and Sexuality in NO NAME WOMAN by MAXINE HONG KINGSTON
No Name Woman” is the first section of Maxine Hong Kingston’s earliest book, the acclaimed The Woman Warrior.
Analyze “No Name Woman” in terms of its genre. Make three lists demonstrating the ways “No Name Woman” can be characterized as 1) a memoir, 2) an essay, and 3) a short story (fiction).
These questions encourage you to relate your own life to the story that Kingston tells us in “No Name Woman.”
1. This cautionary tale is meant to persuade Kingston to conform to her parents’ values. What is the argument behind the narrative the mother tells? Does it make sense to you? What might be a contemporary argument in a middle-class American family?
2. Were you ever put at an “outcast table” or anything comparable in your house or school? Did you ever hear of such a ritual? What did happen when you were punished? What kinds of things were you punished for? Why do you think these specific things were chosen?
3. Our syllabus directs us to take this selection following the theme of gender and sexuality (Telling Lives: Exploring Gender and Sexuality), how is this a tale about gender inequality? How does Kingston suggest this? How are relations between men and women portrayed here?
4. Kingston talks a good deal about spirits and ghosts. How do they function in this essay? Which parts of this piece seem true to you? Which seem fictional? Why does she blend these elements together?
5. Sexual mores change over time and from country to country. What specifically about the aunt’s context made her transgression so severe? How would her “crime” be viewed in contemporary America? Why? What do you think an ideal response would be?
Thanks to Dr. Kelli Olson and Mary Clare DiGiacomono at Piedmont Virginia Community College for the guide questions
Analyze “No Name Woman” in terms of its genre. Make three lists demonstrating the ways “No Name Woman” can be characterized as 1) a memoir, 2) an essay, and 3) a short story (fiction).
These questions encourage you to relate your own life to the story that Kingston tells us in “No Name Woman.”
1. This cautionary tale is meant to persuade Kingston to conform to her parents’ values. What is the argument behind the narrative the mother tells? Does it make sense to you? What might be a contemporary argument in a middle-class American family?
2. Were you ever put at an “outcast table” or anything comparable in your house or school? Did you ever hear of such a ritual? What did happen when you were punished? What kinds of things were you punished for? Why do you think these specific things were chosen?
3. Our syllabus directs us to take this selection following the theme of gender and sexuality (Telling Lives: Exploring Gender and Sexuality), how is this a tale about gender inequality? How does Kingston suggest this? How are relations between men and women portrayed here?
4. Kingston talks a good deal about spirits and ghosts. How do they function in this essay? Which parts of this piece seem true to you? Which seem fictional? Why does she blend these elements together?
5. Sexual mores change over time and from country to country. What specifically about the aunt’s context made her transgression so severe? How would her “crime” be viewed in contemporary America? Why? What do you think an ideal response would be?
Thanks to Dr. Kelli Olson and Mary Clare DiGiacomono at Piedmont Virginia Community College for the guide questions
The Handsomest Drowned Man in the World by Gabriel Garcia Marquez
"The Handsomest Drowned Man in the World" is a short story about the body of a dead man that washed ashore in a town that desperately needed something to believe in. Through the literary effect of magical realism, the drowned man comes to symbolize all the beauty of life.
The children first saw the body that washed upon the shore. When they initially spotted it, the children thought it was an enemy ship or a whale, but when they removed the seaweed and other ocean debris that had become attached during its journey, there was no mistaking the fact that the large object was indeed a human body.
The children played with the body all afternoon and were stopped only when a passing adult happened to see them. Word that there was a body on the beach spread quickly throughout the village and, before long, the dead man was taken to the nearest house. The men who moved the man noticed that he was heavier than any body they had carried before, which caused them to assume that he had been floating in the sea for a long time. Because he was very tall, the villagers wondered if some people had the ability to continue growing even in death.
The village was quite small, about twenty houses in all. Because of this, all the residents knew each other and it did not take long for the residents to know that the dead man was not one of their own. The village was situated on a small cape with little land and no flowers. Because there was little spare land, villagers that died were buried at sea.
When night came, the men did not go out to work at sea as they normally did. Instead, they went to the neighboring villages to see if there was anyone missing. Meanwhile, the women of the village remained behind to clean the drowned man's body. As they removed the vegetation that had attached to him during his journey, they noticed that the plants and grasses were from faraway oceans. They also noticed that not only did he have a peaceful look on his face, but also that he was quite possibly the strongest and best built man they had ever seen.
Because the man was so big, the villagers had trouble finding a suitable manner in which to hold his wake. There was no bed big enough in the entire village, nor were there clothes that would fit him. As a result, the women decided to make him clothes from a piece of sail and some bridal linen. As they sewed his clothes, each woman wondered in silence what it would have been like to have the man live among them; they supposed his home would have been the biggest in the village and that his wife would have been the happiest woman in the entire village. They also imagined that he would have had the ability to draw water from the barren ground and that their village would be adorned with flowers. As the woman imagined all the great deeds this dead man could have accomplished, they dismissed their own husbands as weak, incapable men.
The women's thoughts were eventually interrupted by the oldest among them who pronounced that the man should be called "Esteban." While most of the women agreed with this decision, there were some who imagined him to be "Lautaro;" nonetheless, they conceded to the old woman's wishes and began to refer to the dead man as "Esteban."
After the women were finished dressing the man, they began to dread the thought of dragging him along the ground when the time came to give him his at-sea burial. As they contemplated this, they began to imagine how the man's size must have affected his life: having to duck his head through doorways, and always opting to stand during visits rather than risk breaking a chair. They imagined how people must have pitied him for his size.
The women's despair became even more pronounced when they covered the man's face with a handkerchief. With his face covered, there was no mistaking the fact that the man was dead and this brought many of the women to tears. Their tears turned to jubilation when the men of the village returned with the news that the drowned man was not known in any of the neighboring villages.
The men were puzzled by this reaction; for to them, the drowned man was just another thing to be dealt with. Anxious to dispose of him before the heat of the day bore down on them, the men began the task of constructing a device on which to carry the man to the cliff. They pondered whether they should tie a ship's anchor to him so that there would be no chance of his returning to their shore. Yet, as anxious as the men were to complete their task, the women found ways to delay the burial. They spent so much time decorating the drowned man's body with relics and other items that the men began to voice their impatience. In response to this, one of the women lifted the handkerchief from the dead man's face, an act that left the men as awestruck as the women by the drowned man's presence.
Now that they are united in their purpose, the men and women set out to hold the most spectacular funeral that the village had ever experienced. One woman went to a neighboring village for flowers and returned with another woman who had come to see the drowned man. This set off a steady stream of visitors and curiosity-seekers, all of whom came bearing flowers. Soon, there were so many flowers in the tiny village that it was difficult to walk.
Wanting to ensure that the drowned man had a family, the villagers selected a mother and father for him as well as aunts, uncles and cousins from among the village's remaining residents. When the time came to return the man to the sea, many fought for the privilege of carrying him to the cliff. As they walked with the drowned man through the village they became aware, perhaps for the first time, of how desolate and barren their streets really were.
Despite their earlier insistence that they would tie the heaviest anchor they could find to the drowned man, they reconsidered so that the man could come back whenever he wished. As they threw the drowned man back into the sea, they did so with the realization that he would forever be a part of them and that from this moment on, their village would no longer be complete. They also knew that Esteban's memory would forever remain with them. They would ensure this by painting their homes bright colors, digging for springs to irrigate their barren land so that they could adorn the village with more flowers than one could possibly imagine. They would do this all in the hope that, in years to come, their little village would become known as the place where Esteban lived.
litsum.com/handsomest-drowned-man-in-the-world
The children first saw the body that washed upon the shore. When they initially spotted it, the children thought it was an enemy ship or a whale, but when they removed the seaweed and other ocean debris that had become attached during its journey, there was no mistaking the fact that the large object was indeed a human body.
The children played with the body all afternoon and were stopped only when a passing adult happened to see them. Word that there was a body on the beach spread quickly throughout the village and, before long, the dead man was taken to the nearest house. The men who moved the man noticed that he was heavier than any body they had carried before, which caused them to assume that he had been floating in the sea for a long time. Because he was very tall, the villagers wondered if some people had the ability to continue growing even in death.
The village was quite small, about twenty houses in all. Because of this, all the residents knew each other and it did not take long for the residents to know that the dead man was not one of their own. The village was situated on a small cape with little land and no flowers. Because there was little spare land, villagers that died were buried at sea.
When night came, the men did not go out to work at sea as they normally did. Instead, they went to the neighboring villages to see if there was anyone missing. Meanwhile, the women of the village remained behind to clean the drowned man's body. As they removed the vegetation that had attached to him during his journey, they noticed that the plants and grasses were from faraway oceans. They also noticed that not only did he have a peaceful look on his face, but also that he was quite possibly the strongest and best built man they had ever seen.
Because the man was so big, the villagers had trouble finding a suitable manner in which to hold his wake. There was no bed big enough in the entire village, nor were there clothes that would fit him. As a result, the women decided to make him clothes from a piece of sail and some bridal linen. As they sewed his clothes, each woman wondered in silence what it would have been like to have the man live among them; they supposed his home would have been the biggest in the village and that his wife would have been the happiest woman in the entire village. They also imagined that he would have had the ability to draw water from the barren ground and that their village would be adorned with flowers. As the woman imagined all the great deeds this dead man could have accomplished, they dismissed their own husbands as weak, incapable men.
The women's thoughts were eventually interrupted by the oldest among them who pronounced that the man should be called "Esteban." While most of the women agreed with this decision, there were some who imagined him to be "Lautaro;" nonetheless, they conceded to the old woman's wishes and began to refer to the dead man as "Esteban."
After the women were finished dressing the man, they began to dread the thought of dragging him along the ground when the time came to give him his at-sea burial. As they contemplated this, they began to imagine how the man's size must have affected his life: having to duck his head through doorways, and always opting to stand during visits rather than risk breaking a chair. They imagined how people must have pitied him for his size.
The women's despair became even more pronounced when they covered the man's face with a handkerchief. With his face covered, there was no mistaking the fact that the man was dead and this brought many of the women to tears. Their tears turned to jubilation when the men of the village returned with the news that the drowned man was not known in any of the neighboring villages.
The men were puzzled by this reaction; for to them, the drowned man was just another thing to be dealt with. Anxious to dispose of him before the heat of the day bore down on them, the men began the task of constructing a device on which to carry the man to the cliff. They pondered whether they should tie a ship's anchor to him so that there would be no chance of his returning to their shore. Yet, as anxious as the men were to complete their task, the women found ways to delay the burial. They spent so much time decorating the drowned man's body with relics and other items that the men began to voice their impatience. In response to this, one of the women lifted the handkerchief from the dead man's face, an act that left the men as awestruck as the women by the drowned man's presence.
Now that they are united in their purpose, the men and women set out to hold the most spectacular funeral that the village had ever experienced. One woman went to a neighboring village for flowers and returned with another woman who had come to see the drowned man. This set off a steady stream of visitors and curiosity-seekers, all of whom came bearing flowers. Soon, there were so many flowers in the tiny village that it was difficult to walk.
Wanting to ensure that the drowned man had a family, the villagers selected a mother and father for him as well as aunts, uncles and cousins from among the village's remaining residents. When the time came to return the man to the sea, many fought for the privilege of carrying him to the cliff. As they walked with the drowned man through the village they became aware, perhaps for the first time, of how desolate and barren their streets really were.
Despite their earlier insistence that they would tie the heaviest anchor they could find to the drowned man, they reconsidered so that the man could come back whenever he wished. As they threw the drowned man back into the sea, they did so with the realization that he would forever be a part of them and that from this moment on, their village would no longer be complete. They also knew that Esteban's memory would forever remain with them. They would ensure this by painting their homes bright colors, digging for springs to irrigate their barren land so that they could adorn the village with more flowers than one could possibly imagine. They would do this all in the hope that, in years to come, their little village would become known as the place where Esteban lived.
litsum.com/handsomest-drowned-man-in-the-world
The Management of Grief by Bharati Mukherjee
Some questions you need to answer:
What does the title "Management of Grief" mean?
How do the characters deal with their, or the others', grief?
How is Canadian government criticized?
I. Theory-- Stages of Grief Management in the story:
1. Rejection,
2. depression, (Depressed Acceptance)
3. Acceptance,
4. reconstruction
What is not considered? guilt/regret,
hope, prefers ignorance, or their own versions
mourning process: searching, waiting.
II. Characters:
The narrator (Mrs. Shaila Bhave)
Pam, escape, feeling neglected.
Kusum, accept fate.
Dr. Ranganathan, another kind of escape, while keeping the connection
the elderly couple leave it to their god; insist on their own way and believe themselves "strong."
III. The Moments: -- mourning -- release
IV. The Canadian government -- evasive, indifferent
Irish giving flowers and showing sympathy <--> not blaming on the whole group of people
because of some individuals
Judith Templeton--considers them ignorant, a mess.
On June 23, 1985, an Air India Boeing 747 left Toronto for London Heathrow, the first stop on its scheduled journey to Bombay. As the plane prepared to descend into London, it was destroyed by an on board bomb, sending the craft on a fiery path into the Irish Sea. All 329 passengers, ninety percent of whom were Canadians of Indian ancestry, were killed. From the outset, Sikh extremists were thought to be the perpetrators of the worst terrorist event in the years prior to the 9/11 attacks on the United States.
"Management of Grief" begins in the aftermath of that horrible day in June 1985. The narrative voice, and in many respects the conscience of the story, is Shaila Bhave, a Hindu Canadian who knows that both her husband Vikram and her two sons were on the plane when it was lost. In the opening two pages, images of death and horror are the backdrop to the haphazard but well intentioned attempts by the Indian community of Toronto to help the families of the victims. Various neighbors, the president of the Indo-Canadian Society and children move in and out of the scene, which is driven forward by the observations by Shaila as to the confusion about the cause of the crash, and her own fanciful but maternal hopes that her family remain alive.
The opening pages of "Management of Grief" also set out the immersion of traditional Indian values and social mores into secular Canadian society-- the agony over the loss, the strangers in her kitchen making tea "the Indian way", the coming of a reporter to conduct an interview about the disaster, Shaila's desire to scream in the midst of the confusion, and her recall as to how they had initially come to Ontario-- all woven together, where the reader can imagine the riot of emotion that day.
The first segment of the story concludes with Shaila and her neighbor, Kusum, sitting together holding hands while the other well-intentioned members of their community move about them. Kusum has also lost her husband and a daughter who were on the Air India flight. Shaila tells us of the depth of Kusum's grief, a confrontation between Kusum's elder daughter Pam and Kusum as Shaila sits with her on the stairs, a challenge from the teenager that her mother was really wondering , "why not her?" Pam is a westernized teenager, who by example declares that she will take the Canada's "Wonderland" amusement park and the North American image it projects over Bombay. Her challenge goes unanswered by Kusum - she gives voice to the feeling of most of humanity when they suffer a personal loss - " 'Why does God give us so much if all along he intended to take it away?"
The second segment commences with Shaila meeting with a representative of the provincial government, an earnest and well intentioned young social worker named Judith Templeton. Templeton has contacted Shaila in the hope that Shaila can help her reach out to members of the Indian community whose family were killed in the Air India crash, but who are more isolated from the Ontario mainstream, through the barriers of language and Indian culture, than people like Shaila. Templeton tells Shaila that she has sought Shaila out because it is the opinion of the Toronto Indian community that Shaila is a very strong, resolute person in the face her family tragedy. Shaila outwardly is polite and obliging to Templeton, observing all of the social niceties, but to Templeton's suggestion that she is a stalwart.
Shaila concludes her meeting with Templeton offering to meet with her again, conflicted between the "terrible calm" she feels and how others have perceived her in the aftermath of the tragedy.
The third segment of "Management of Grief" continues four days later, on the coast of Ireland, overlooking the place where the Air India jet crashed in to the Irish Sea. Shaila has come to this place, joining Kusum and other mourners, to grieve and to identify the bodies of victims as they are recovered.
In this segment, Shaila recounts the contrasts between the hard facts of the ongoing police investigation - the cause and the fact that death would have been instantaneous, with the fanciful, abstracted words of Kusum as she sits on the edge of the sea, looking across the water. Shaila seeks relief from Valium; Kusum has consulted with a swami in Toronto, who has told her that all of the victims, Hindu, Christian, Sikh, Muslim, Parsi and atheists - all were fated to die together here in the Irish Sea..."They are in a better place than we are...my swami says that depression is a sign of our selfishness"
Shaila, half fanciful, tells us that they pretend to spot their loved ones on the waves at sea from their vantage point on the cliff. At one point, both Kusum and Shaila go into the water, hoping for a miracle, that perhaps there are survivors pinned under a rock close by, or that the swimming prowess of Shaila's sons might have resulted in a miraculous escape from the crash. Another mourner, an electrical engineer, joins them and asserts that he had not yet surrendered hope. Moments later, the engineer while talking about how a good, strong swimmer of 14 years of age might be able to rescue a younger child, he throws rose petals on the surface of the sea, the ancient Indian symbol to honor death.
Shaila returns to the hospital where the bodies of the crash victims are being taken for identification. It is the intention of those who can identify a loved one that the body will be transported to India for a proper burial ceremony. Shaila is asked to identify photographs of a boy recovered from the water - she cannot. Shaila says that it is only the "unlucky ones" who leave without their children's bodies. She travels to India with Kusum, to assist her with her own efforts to honor and bury her dead family members.
Shaila describes her return to India. On arrival, with Kusum, who had the carriage of the coffins of her husband and daughter, Shaila engages in a bitter row with a customs official - "Once upon a time we were well brought up women; we were dutiful wives who kept our heads veiled, our voices shy and sweet" - a contrast to the horror of the Air India crash and the stark sense of loss described in Ireland.
In India for three months after the disaster, Shaila then sets out some thing of a reversion from her Canadian life - she returns to the role of the only child in a family of wealthy, ailing parents. Shaila describes herself in this life of conflict between her Indian roots and her newer Canadian reality, as "I am trapped between two modes of knowledge. At thirty six, I am too old to start over and too young to give up. Like my husband's spirit, I flutter between worlds." Shaila describes the imperatives of custom felt by some of the men widowed by the Air India crash, the pressure to immediately re marry, and her own comparative luck in that no one will be seeking her, an unlucky widow, as a new bride.
Six months after the crash, Shaila describes how she saw her husband while making an offering at a temple to animist gods. Her husband is wearing the clothing he wore prior to the flight, and he tells Shaila, "You must finish alone what we started together." Shaila resolves to return to Canada.
In the next segment, Shaila describes how the relatives and loved ones of the Air India crash victims maintain their own sense of connection and community. She speaks with some affection for the efforts of those left behind to persevere. She also details her further contacts with Judith Templeton, the social worker who continues to endeavor to assist members of the Toronto Indian community who either refuse to accept the loss of their family members, or who have no ability to operate effectively in a Canadian culture of legal requirements, bank documents and government forms.
Templeton tells Shaila that the government want nothing more that to help the family members "accept" loss - acceptance she defines by moving ahead, taking college courses and receiving support from various agencies in the community. Templeton asks for Shaila's help in reaching out to a particular couple whose sons were killed, but who have evidently refused to sign anything presented by the government for fear such an act truly means there is no hope for their son's lives.
Shaila agrees to assist Templeton, with her own undercurrent of misgivings - the couple are Sikh, as were the alleged bombers of the Flight 182. As they sit having tea in the small apartment, Shaila describes the contrast between the attitudes of Templeton, who is sincere in her desire to advance what she sees as the interest of people who have suffered a loss, and the Sikh couple, whose attitude to Templeton and her efforts is stated as "God will provide, not government. . . When our boys return. . . . I will not pretend that I accept (their deaths)."
Templeton is hopeful that Shaila will similarly assist her with other of her difficult cases in the Indian community. Shaila does not; she simply walks away from Templeton and the efforts of officialdom to reach out to these people.
The story concludes with Shaila's observation regarding the irony in her families initial arrival in Canada to avoid religious and political problems, and the fact that they in fact became victims of that precise issue. She describes her walk on a winter day in Toronto, when she heard voices of her family telling her that her time has come and that she must be brave. Shaila, uncertain as to her direction, heeds their advice.
http:/litsum.com/management-of-grief
What does the title "Management of Grief" mean?
How do the characters deal with their, or the others', grief?
How is Canadian government criticized?
I. Theory-- Stages of Grief Management in the story:
1. Rejection,
2. depression, (Depressed Acceptance)
3. Acceptance,
4. reconstruction
What is not considered? guilt/regret,
hope, prefers ignorance, or their own versions
mourning process: searching, waiting.
II. Characters:
The narrator (Mrs. Shaila Bhave)
Pam, escape, feeling neglected.
Kusum, accept fate.
Dr. Ranganathan, another kind of escape, while keeping the connection
the elderly couple leave it to their god; insist on their own way and believe themselves "strong."
III. The Moments: -- mourning -- release
IV. The Canadian government -- evasive, indifferent
Irish giving flowers and showing sympathy <--> not blaming on the whole group of people
because of some individuals
Judith Templeton--considers them ignorant, a mess.
On June 23, 1985, an Air India Boeing 747 left Toronto for London Heathrow, the first stop on its scheduled journey to Bombay. As the plane prepared to descend into London, it was destroyed by an on board bomb, sending the craft on a fiery path into the Irish Sea. All 329 passengers, ninety percent of whom were Canadians of Indian ancestry, were killed. From the outset, Sikh extremists were thought to be the perpetrators of the worst terrorist event in the years prior to the 9/11 attacks on the United States.
"Management of Grief" begins in the aftermath of that horrible day in June 1985. The narrative voice, and in many respects the conscience of the story, is Shaila Bhave, a Hindu Canadian who knows that both her husband Vikram and her two sons were on the plane when it was lost. In the opening two pages, images of death and horror are the backdrop to the haphazard but well intentioned attempts by the Indian community of Toronto to help the families of the victims. Various neighbors, the president of the Indo-Canadian Society and children move in and out of the scene, which is driven forward by the observations by Shaila as to the confusion about the cause of the crash, and her own fanciful but maternal hopes that her family remain alive.
The opening pages of "Management of Grief" also set out the immersion of traditional Indian values and social mores into secular Canadian society-- the agony over the loss, the strangers in her kitchen making tea "the Indian way", the coming of a reporter to conduct an interview about the disaster, Shaila's desire to scream in the midst of the confusion, and her recall as to how they had initially come to Ontario-- all woven together, where the reader can imagine the riot of emotion that day.
The first segment of the story concludes with Shaila and her neighbor, Kusum, sitting together holding hands while the other well-intentioned members of their community move about them. Kusum has also lost her husband and a daughter who were on the Air India flight. Shaila tells us of the depth of Kusum's grief, a confrontation between Kusum's elder daughter Pam and Kusum as Shaila sits with her on the stairs, a challenge from the teenager that her mother was really wondering , "why not her?" Pam is a westernized teenager, who by example declares that she will take the Canada's "Wonderland" amusement park and the North American image it projects over Bombay. Her challenge goes unanswered by Kusum - she gives voice to the feeling of most of humanity when they suffer a personal loss - " 'Why does God give us so much if all along he intended to take it away?"
The second segment commences with Shaila meeting with a representative of the provincial government, an earnest and well intentioned young social worker named Judith Templeton. Templeton has contacted Shaila in the hope that Shaila can help her reach out to members of the Indian community whose family were killed in the Air India crash, but who are more isolated from the Ontario mainstream, through the barriers of language and Indian culture, than people like Shaila. Templeton tells Shaila that she has sought Shaila out because it is the opinion of the Toronto Indian community that Shaila is a very strong, resolute person in the face her family tragedy. Shaila outwardly is polite and obliging to Templeton, observing all of the social niceties, but to Templeton's suggestion that she is a stalwart.
Shaila concludes her meeting with Templeton offering to meet with her again, conflicted between the "terrible calm" she feels and how others have perceived her in the aftermath of the tragedy.
The third segment of "Management of Grief" continues four days later, on the coast of Ireland, overlooking the place where the Air India jet crashed in to the Irish Sea. Shaila has come to this place, joining Kusum and other mourners, to grieve and to identify the bodies of victims as they are recovered.
In this segment, Shaila recounts the contrasts between the hard facts of the ongoing police investigation - the cause and the fact that death would have been instantaneous, with the fanciful, abstracted words of Kusum as she sits on the edge of the sea, looking across the water. Shaila seeks relief from Valium; Kusum has consulted with a swami in Toronto, who has told her that all of the victims, Hindu, Christian, Sikh, Muslim, Parsi and atheists - all were fated to die together here in the Irish Sea..."They are in a better place than we are...my swami says that depression is a sign of our selfishness"
Shaila, half fanciful, tells us that they pretend to spot their loved ones on the waves at sea from their vantage point on the cliff. At one point, both Kusum and Shaila go into the water, hoping for a miracle, that perhaps there are survivors pinned under a rock close by, or that the swimming prowess of Shaila's sons might have resulted in a miraculous escape from the crash. Another mourner, an electrical engineer, joins them and asserts that he had not yet surrendered hope. Moments later, the engineer while talking about how a good, strong swimmer of 14 years of age might be able to rescue a younger child, he throws rose petals on the surface of the sea, the ancient Indian symbol to honor death.
Shaila returns to the hospital where the bodies of the crash victims are being taken for identification. It is the intention of those who can identify a loved one that the body will be transported to India for a proper burial ceremony. Shaila is asked to identify photographs of a boy recovered from the water - she cannot. Shaila says that it is only the "unlucky ones" who leave without their children's bodies. She travels to India with Kusum, to assist her with her own efforts to honor and bury her dead family members.
Shaila describes her return to India. On arrival, with Kusum, who had the carriage of the coffins of her husband and daughter, Shaila engages in a bitter row with a customs official - "Once upon a time we were well brought up women; we were dutiful wives who kept our heads veiled, our voices shy and sweet" - a contrast to the horror of the Air India crash and the stark sense of loss described in Ireland.
In India for three months after the disaster, Shaila then sets out some thing of a reversion from her Canadian life - she returns to the role of the only child in a family of wealthy, ailing parents. Shaila describes herself in this life of conflict between her Indian roots and her newer Canadian reality, as "I am trapped between two modes of knowledge. At thirty six, I am too old to start over and too young to give up. Like my husband's spirit, I flutter between worlds." Shaila describes the imperatives of custom felt by some of the men widowed by the Air India crash, the pressure to immediately re marry, and her own comparative luck in that no one will be seeking her, an unlucky widow, as a new bride.
Six months after the crash, Shaila describes how she saw her husband while making an offering at a temple to animist gods. Her husband is wearing the clothing he wore prior to the flight, and he tells Shaila, "You must finish alone what we started together." Shaila resolves to return to Canada.
In the next segment, Shaila describes how the relatives and loved ones of the Air India crash victims maintain their own sense of connection and community. She speaks with some affection for the efforts of those left behind to persevere. She also details her further contacts with Judith Templeton, the social worker who continues to endeavor to assist members of the Toronto Indian community who either refuse to accept the loss of their family members, or who have no ability to operate effectively in a Canadian culture of legal requirements, bank documents and government forms.
Templeton tells Shaila that the government want nothing more that to help the family members "accept" loss - acceptance she defines by moving ahead, taking college courses and receiving support from various agencies in the community. Templeton asks for Shaila's help in reaching out to a particular couple whose sons were killed, but who have evidently refused to sign anything presented by the government for fear such an act truly means there is no hope for their son's lives.
Shaila agrees to assist Templeton, with her own undercurrent of misgivings - the couple are Sikh, as were the alleged bombers of the Flight 182. As they sit having tea in the small apartment, Shaila describes the contrast between the attitudes of Templeton, who is sincere in her desire to advance what she sees as the interest of people who have suffered a loss, and the Sikh couple, whose attitude to Templeton and her efforts is stated as "God will provide, not government. . . When our boys return. . . . I will not pretend that I accept (their deaths)."
Templeton is hopeful that Shaila will similarly assist her with other of her difficult cases in the Indian community. Shaila does not; she simply walks away from Templeton and the efforts of officialdom to reach out to these people.
The story concludes with Shaila's observation regarding the irony in her families initial arrival in Canada to avoid religious and political problems, and the fact that they in fact became victims of that precise issue. She describes her walk on a winter day in Toronto, when she heard voices of her family telling her that her time has come and that she must be brave. Shaila, uncertain as to her direction, heeds their advice.
http:/litsum.com/management-of-grief
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