INTERPRETER OF MALADIES

by Jhumpa Lahiri.

INTRODUCTION
QUESTIONS FOR ANALYZING SHORT STORIES
PLOT
PLOT is simply the action that takes place or the structure of events which are connected
and which must contain conflict or struggle between opposing forces, a situation which
gives rise to the problems or questions to be resolved. Based upon early Greek patterns
of drama, we can examine the pattern of plot by locating and identifying the following
stages in the story:

PATTERN OF PLOT
1. EXPOSITION - the introduction of the status quo, information necessary to understand
the beginning of action. It introduces the characters and their relationship to the
environment. The length of the exposition and its placement varies greatly.
2. RISING ACTION - the beginning of conflict and the series of events which develop it.
Also called the complication, the largest section of the story.
3. CLIMAX - the high point, or turning point, where the ending of the story become
inevitable.
4. DENOUEMENT - the falling action, the literal unknotting of the conflict. Also called the
resolution.
SOME QUESTIONS ON PLOT:
1. Are the events plausible? Are they in a logical, well-motivated sequence? How is the
reader prepared for the climax? For the resolution?
2. What type(s) of conflict exists?
The individual against nature/another individual/self/the gods.
3. What are the most dramatic scenes?
4. What sort of ending is used -- closed? open?
5. Has the author used any special devices such as flashback or story within a story?
SETTING
One of six literary elements that can be used to analyze a fictional story is SETTING.
SETTING is defined as both the time and place of the action of the story as well as the
milieu. Discussion of SETTING includes atmosphere, tone, feeling, environment and
conditions that surround characters.

SOME QUESTIONS ON SETTING:

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 1. When and where did the story happen?
2. Could the story have happened somewhere else?
3. How long a period of time is encompassed by the events
of the story?
4. Would it have changed the story any if the author had shortened or lengthened the
time period?
5. Does the author follow one time line from beginning to end or jump back and forth in
time (flashbacks)?
6. If the author does jump around in time, would the story have been different if it were
rewritten with time moving chronologically from beginning to end?
7. Is the setting important to the story? Why or why not?
8. Does the setting influence the plot or the characters in any way?
9. Is the setting believable?
10. Does the setting help create a particular mood? Is that mood essential to the story?
11. How much time does the author spend describing the setting? At what points in the
story? Is this done on purpose?

CHARACTER
The second of the six literary elements we will consider in this unit is character.
characters are those who people the story, the living feeling beings about whom we make
discoveries as we read and analyze the short story (or any other piece of fiction for that
matter). There will be a protagonist . Characters may be presented through summary of
traits or dramatically through actions and dialogue, or by a combination.

SOME QUESTIONS ON CHARACTER:

1. Who are the characters in the story?
2. What are these characters like?
3. Is there a common problem that all the characters must face?
4. Do the characters fall into particular groups? Are those groups against one another?
5. Is one of the characters the main character, or are there several main characters?
6. Do the characters change or grow as individuals, or are they alike throughout the
story?
9. Are the characters realistic? Stereotyped? Unbelievable? Romantic?
12. How important is our knowing more about the characters, or do we appreciate the
story without knowing much about the characters? Does this factor indicate something
about the author's purpose in writing the story?

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 POINT OF VIEW
The third literary element which can help you analyze a piece of literature is point of
view. Very simply, point of view is the method by which the story is presented, the
perspective from which we receive all information. In a technical sense, point of view
means the way the story's narrator (or the person telling the story) relates to his/her
fictional characters and to his/her story. Sometimes referred to as a story's angle or focus,
point of view is not an arbitrary method used by an author to reveal his character or plot;
it is , rather, a very carefully planned and special viewpoint. If the story is told completely
in dialogue or we see a play, there is no one between the action and the viewer. However,
if we read a play, or a story that contains any descriptive material whatsoever, that stage
direction or story description has a point of view. Such material contains subjective
observations of the story's narrator. The choice of point of view will determine to a large
extent the effect of a story, and depending upon the story's purpose, how successful its
impact will be upon the reader. Do not, however, make the mistake as a reader of
confusing the author's view with that of his/her narrator.
There are two basic types of point of view that authors typically employ in their stories,
first person and third person:
First person narrator
1. Character (major or minor)
2. Unknown story teller, removed 3rd person usually omniscient/limited omniscient or
objective.
3. Second person or stream of consciousness (more rare).

SOME QUESTIONS ON POINT OF VIEW:

1. Which point of view is used in each of the stories?
2. Why? And what is the result?
3. What is the reader forced to do as a result of the choice of point of view the author
has made?
4. Choose one of the stories and explain in some detail what the story would be like
were it told in another point of view.

STYLE
One literary element that is useful for analyzing short stories is style. Of all the
elements, it contains the most parts, all of which may not be utilized by an author. By
definition, " style is the man (or woman as the case may be)." It is the author's way of
putting words together and using literary devices and techniques. Often an author is
identifiable by the stylistic devices he or she commonly uses. The more you read that
author, the more able you are to recognize that writer by his or her style.

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 STYLE includes many techniques including those listed below:
A. Dialogue - use of dialect, speech patterns, and language natural to location and/or
type of character.
B. Sensory words
C. Figures of speech - especially:
a. Simile - comparison with "like" or "as."
b. Metaphor- comparison of one thing to another unlike thing.
c. Personification - giving human characteristics to inanimate objects.
D. Foreshadowing - hint of something to come.
E. Flashback - brief lapse into some past time.
F. Analogy - extended comparison.
G. Imagery - pictures created with words.
H. Alliteration - repetition of initial consonant sounds.
I. Connotation - emotional attitudes associated with the meanings of words.
J. Symbolism - concrete, factual details that evoke ideas and emotions. These may be
objectives, events, people who suggest more than their literal meaning. There are two
types of symbolism an author might use:
1. Conventional closed symbols - commonly known to all.
Example: Spring symbolized rebirth.
2. CREATED (OPEN) SYMBOLS - recognizable because they are conspicuous for
some reason other than factual importance.
Example: The budding trees in "The Story of an Hour" symbolize the main
character's awakening to freedom.
K. Allegory - extended symbolism.
L. Irony - the contrast between appearance and reality; it allows us to discover the
opposite of what we expect.
M. Tone - author's attitude (romantic, sardonic, sarcastic, etc.). May differ from surface
mood.

SOME QUESTIONS ON STYLE:

1. Is there anything strikingly different about the style of this story?
2. Does the writer sound learned, formal, etc.?
3. Is the writer a close observer of life?
4. Does the author appeal to your intellect, imagination, emotion? All three?

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 THEME
The final literary element a reader needs to consider is THEME. THEME is the one idea or
unifying element upon which the story is based. It is the author's commentary on life which
governs the selection of all the elements or techniques the author has employed in
creating and crafting his or her story.
SOME QUESTIONS ON THEME:
1. Does the story say anything about life (the theme), or is the story simply a description
of a character or a tale of a series of events? Can the story be interpreted on more than
one level? Personal? Societal? Universal?
2. What does the story say about life?
3. How does the author reveal the theme? Does one of the characters state the theme?
Does the author tell you the theme?
4. Do you agree with the theme of the story, if there is one?
5. Is the theme an important theme for people to think about, or is it a very minor
theme, appropriate to only a few people or for people in a limited period of time, or is the
theme hardly worth considering?
6. Is the author trying to convince you of his point of view through his development of the
theme, or is the theme something that many people can agree with?
7. Is the theme related very closely to the setting, to the plot, or to the characters?
Explain your answers.

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Introduction
In the nineteenth century the British Empire was the largest the world had seen –
stretching from Australia and New Zealand to Canada and Africa to the so-called ‘Jewel
in the Crown’, India. When looked at through the lens of the Empire, India extended from
modern day Afghanistan in the west across to Pakistan, India, Sri Lanka and
Bangladesh, finishing in the east in Burma (Myanmar). It encompassed a multitude of
languages, religions, traditions and ethnicities.
There are three notable features of the British Empire system. The first was an
entrenchment of previously established class and caste systems, sustaining divisions
and keeping the status quo, but with the addition of the British at the top. The second
was the relatively free movement of people within these countries; the people of the
Indian sub-continent grew used to migrating. The last feature was the spread of the
English language, becoming and now remaining the most useful second language to
know.
With the slow decay of the Empire in the twentieth century, Britain often unwillingly
sliced up the enormous multicultural vision of India into the countries we are familiar
with today. This creation of new states led to enormous conflicts that are still being
played out. Following independence and the partition of India in 1947 there was a
huge movement of people to and from various parts of the country, often based on
religious lines. This strained relations between those moving in and out of these
areas.
Contemporary, India is also a poor country with a huge population that needs to be fed
and widespread homelessness. Even in the twenty-first century there is a strong division
between the ‘haves’ – that is, those who have won economically in the new world of free
trade – and the ‘have nots’ – those who remain at the bottom of the social and economic
pile. This division is often linked to the long-standing caste system that dictates where
people live and what jobs they can hold.
In response to poverty and conflict, many people left India in the nineteenth and
twentieth centuries, in what has been known as a diaspora. This spreading or
dispersion of people across the world is similar to the Jewish, Irish and Chinese
experience. Many initially migrated to Britain and her colonies; others moved further to
other English speaking countries such as Australia, Canada and the United States.
The North East Coast of the USA is one of the richest areas in the country. While much
of its heavy industry has disappeared there is a strong focus on education, through the
grand universities of MIT, Yale, Harvard and Princeton. Many towns are so-called
University towns, filled with places of higher learning where the emphasis is not on
physical objects but the development of minds. These are places where people are
judged on their intelligence; places far from violent conflict.
These towns are places that are paradoxically connected to the natural landscape.
Escaping much of the industrialisation of the Midwest, they tend to be close to the ocean
and have huge swathes of national parks. These regions of no visible commercial
enterprise are the result of history and these states are often quite wealthy. The climate
in this part of the USA is usually very cold in winter and balmy in summer. A contrast to
much of India’s climate and environment.
Like many first generation migrants, many Indians were very successful, often going into

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prestigious white-collar jobs. Next to this success, however, are the difficulties that many
of them faced; largely to do with identity and where they fitted into the world. This is the
world Jhumpa Lahiri writes about. She herself is an immigrant of Indian background. She
was born in the UK, but grew up in Rhode Island, USA. Her stories are often to do with
the gaps between societies and the problems people feel when they are a stranger in a
strange land.

RUNNING SHEET AND STRUCTURE OF THE TEXT

This collection follows a rough narrative development even though it doesn’t have any
recurring characters or settings. It starts with a universal human story, and then moves
towards explicitly Indian stories and dealing with issues of identity. The collection ends
with a final story about coming to America. The order of stories slowly develops the
central themes of the migrant experience, perspective and identity, and the attempts to
connect with others.

‘A Temporary Matter’
This story is set in the USA in a typical university town. The two characters from an
Indian background have achieved personal success in their professional fields.
Shukumar, the husband is slowly finishing, or not finishing a book on Indian history;
while his wife Shoba is an apparent workaholic editor of books. They appear to live
separate lives in the same house, however it is slowly revealed that their first baby was
stillborn. The baby’s death accounts for their emotional distance and their difficulty in
being around each other.
What starts to bring them together, at least from Shukumar’s perspective, is the power
going out for five days. The story opens with a letter describing what will happen: ‘The
notice informed them it was a temporary matter’. (p.2) This highlights that the situation
will be brisk and business-like, an American stereotype; it implies that any problem
Shukumar and Shoba have will be short lived and they will get over it promptly. The
story slowly plays out the opposite.
The blackouts provide the catalyst for the couple to talk over matters, to force them to
become close again. Their intimacy is reignited, at least in the eyes of Shukumar,
through whose perspective the story is told. They use these moments at dinner, in
candlelight to tell each other what they have never told each other before. Shukumar tells
Shoba he returned a sweater she gave him and his guilt in tearing a picture of a woman
out of a magazine.
While they rediscover some form of intimacy they see their neighbours walking down
the street for ice cream during the power blackouts. To Shukumar they represent
what he would like to be with Shoba, close and apparently happy. This dream and
hope is rekindled when they eventually have sex for the first time since the death of
their baby.
The second last revelation belongs to Shoba. She tells Shukumar that she is moving out
of their house, to initiate a separation. This revelation turns the story on its head – what
Shukumar thought was about reconciliation was to Shoba about separating. Shukumar
finishes the story by telling Shoba the sex of their dead child, helping them both to move
on. This lets the reader think that maybe the ‘temporary matter’ of the first line may not
have been their grief, but their marriage and love.

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Comprehension
1. Provide descriptions of Shoba and Shukumar in both the past and the present.
2. 3. Shoba 4. Shukumar
5. Past 6. 7.
8. Present 9. 10.

11. What tragic event has occurred?

12. What feelings/emotions does Lahiri evoke in the reader? Quote relevant sections and
describe the feelings.
13. How do you imagine Shoba and Shukumar’s relationship was prior to the death of their
baby?
14. Describe what their relationship is like after the baby’s death.
15. What comment is Lahiri making about relationships?
16. As readers, how are we meant to view:
- Shoba?
- Shukumar?
17. What provides the opportunity for Shoba and Shukumar to express some of their inner
thoughts and feelings? What do they reveal to each other?
18. By the end of the story has anything been resolved for either of the characters?
19. What is the irony in the title?
20. Why does the story end with Shukumar seeing the neighbours walking by?
21. Why is the reader denied Shoba’s point of view?

‘When Mr Pirzada Came to Dine’

This is the first story to deal with the Indian expatriate experience. It examines issues of
identity such as attempts by Indians, or people from the sub- continent, to fit into their
new society and how their children try to become American.
The plot centres on the narrator, Lilia, and her memories of her parents’ friend
– the eponymous Mr Pirzada, who used to come around to their house as she was
growing up. Set against this memory are more catastrophic events of the era; in this
case, Bangladesh declaring independence from Pakistan. Lilia’s queries as to the identity
of Mr Pirzada confuse her, but highlight Lahiri’s attempt to pose questions to the reader
concerning identity and nationality.
Despite the potential strife and division that may erupt between Lilia’s family and Mr
Pirzada, they remain friends and are more intent on learning how to become American
than continuing any partisan squabbles. This is shown when they play Scrabble
‘arguing long into the night about the spelling of English words’. (p.34)
At the same time her parents are trying to encourage Lilia to become more American,

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through participating in Halloween and watching television, she is trying to find out what it
means to be Indian. Interestingly she comments on her friend’s parents and how ‘the
television wasn’t on at Dora’s house at all. Her father was lying on the couch reading a
magazine, with a glass of wine on the coffee table’. (p.39) This scene is quite removed
from her parents’ vision of America. Lahiri is pointing out that Lilia’s parents are almost
trying too hard to fit in, that Americans are far removed from the clichés her parents are
trying to live up to.
Similarly, her attempts to understand the world she has come from are ultimately
meaningless. The book she reads about Pakistan in her school library is dismissed
when her teacher asks, ‘I see no reason to consult it…do you?’ (p.33) While this quote
is to do with Lilia staying on-task, it also represents the fact that Pakistan does not exist
in the American worldview, except as a remote place of strife. This is not an anti-
American statement, instead it is to do with how people construct their national identity:
it is not important if it does not take place in the USA.
The story ends with Mr Pirzada going home to Bangladesh and being reunited with the
family he feared was dead. Lilia eventually stops a ritual she started to bring him good
luck, finally throwing away the candy with which she did it.
This signifies that she has not only cast off her Indian and sub-continental attitudes and
desires, but also her attempts to fit into the American cliché. Her previous identity, cast
partly by Mr Pirzada, is no longer relevant.

Comprehension
1. What background is given about Mr. Pirzada? Why do you think Lahiri begins her story
in this way?
2. How did it come about that Mr. Pirzada came to dine with Lilia’s family?
3. What is partition?
4. “For many, the idea of eating in the other’s company was unthinkable.” (page 25) How
were the Indian people affected by partition?
5. “It made no sense to me.” (page 25)
6. In what ways are Mr. Pirzada and Lilia’s parents similar?
7. What makes them different according to Lilia?
8. Describe Mr. Pirzada: physical appearance, personality, mannerisms...why does he
behave the way he does?
9. Describe the ritual surrounding meals with Mr. Pirzada and the extent of Lilia’s
involvement.
10. What does Lilia learn at school?
11. Why is Lilia’s father concerned about what she “learns about the world”? (page 27)
12. Describe how Mr. Pirzada treats Lilia. Refer to specific examples and explain why he
treats her this way.
13. What affect does the news report of war in Pakistan have on:
Lilia? Mr. Pirzada? Lilia’s parents?

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14. Read pages 41 -42 and discuss the meaning and impact upon the resolution to this
story.
15. What social, historical and cultural values are embodied in When Mr. Pirzada Came
to Dine?
16. Why do the adults try to become more American?
17. What does Lilia represent for Mr Pirzada?

‘Interpreter of Maladies’
This looks at the same issue in ‘When Mr Pirzada Came to Dine’ from another
perspective: in this case, how Indians react when they are faced with those who have
succeeded and thrived outside of India. The interpreter of the story, Mr Kapasi, is a tour
guide through India and he shepherds the American Das family around temples and
sites.
Even though they are of Indian background, the Das family seem to be fully integrated into
American society. Mr Das carries the requisite guidebook while the children complain
about the lack of air conditioning in the car. Mr Kapasi’s life is a poor photocopy of the Das
family’s success. His youthful dreams of being an interpreter for world leaders has been
discarded for the more prosaic job of an interpreter for the local doctor.
Lahiri in this story addresses not only the gulf between cultures, but the gulf between two
people. Mr Kapasi paints an image in his mind of a future correspondence between
himself and Mrs Das with whom he seems to connect. He thinks their connection is
about him as a person, instead of his role as an interpreter, not only of languages, but of
the countryside. However, this perceived connection is revealed to be a fantasy when
Mrs Das confesses that one of her sons is not her husband’s. Mr Kapasi is not able to
give her advice on how to resolve her guilt over it. It becomes clear to the reader and Mr
Kapasi that he will not be able to fulfil his dream life; the gap between their cultures is
too great. It also shows that he is a poor interpreter of her guilt, he lacks the imagination
to put himself in her position.
When Mrs Das leaves the car in search of her missing son, the comparison between the
monkeys around the temple, and Mr Kapasi are made evident, in that they are a world
away from each other. They have no real understanding of the human world, in the same
way that Mr Kapasi has no real understanding of the Das family. His dream of being with
Mrs Das, which he partly acknowledges as a dream, is crushed by reality when the paper
with his address that he gave to her flutters away into the trees. He knows that he will not
have any understanding or any other entry into their lives again.

Comprehension
1. What is a malady?
2. What is an interpreter of maladies?
3. Describe the relationship between:
4. Mr. and Mrs. Das (Raj and Mina)
5. The Das parents and their children (Tina, Ronny and Bobby)

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 6. Mr. Kapasi and his wife.
7. “The family looked Indian but dressed as foreigners did...” (pages 43-44).
8. What comment is Lahiri making about this Indian family and their heritage?
9. What causes Mrs. Das to become interested in Mr. Kapasi?
10. What interest does Mr. Kapasi develop in Mrs. Das?
11. What information do we learn about:
12. Mrs. Das?
13. Mr. Kapasi?
14. Describe the relationship that develops between Mrs. Das and Mr. Kapasi, what
misinterpretations occur (refer to the language and dialogue used) and discuss how
that relationship ultimately sours.
15. What is symbolic of the slip of paper with Mr. Kapasi’s address on it?
16. As readers, how are we to interpret these two characters? How does Lahiri want us
to view them and their situations?
17. Why has Mr Kapasi compromised his life?
18. Why does Mrs Das reveal her secret to Mr Kapasi?

‘A Real Durwan’
This is the first story set exclusively in India, and examines ideas of class and human
nature: in this case, Boori Ma, a woman of reputedly high class birth who is forced to
sweep stairs and live on the roof of a crumbling apartment building in Calcutta.
Lahiri moves away from many of her previous ideas on the Indian diaspora and,
instead, focuses on the distance between people. Boori Ma’s life is inscrutable, she
describes herself as high born yet none of the residents believe her. They tolerate her
because she provides the service looking after the house. She is heralded by the bunch
of keys around her waist, a symbol of wealth and prestige; even if it is a symbol of a
history they don’t believe. However, she is ejected from the building after a robbery;
blaming her absence from the building at the time instead of their own complacency.
Lahiri seems to be saying that people become avaricious and greedy, and consequently
lose their previously held common humanity. Similarly, people don’t like having
someone like Boori Ma around, the symbol of what they might become – a fallen
person.

Comprehension
1. What is a durwan?
2. Create a detailed CHARACTER PROFILE of Boori Ma. You may include a sketch or
picture/photograph.
3. What is Boori Ma’s story? How does she end up this way?
4. How do the various tenants see Boori Ma?

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5. In what way do you as a reader see Boori Ma? Explain by making specific references
to the story.
6. How do Boori Ma’s services come to resemble those of a real durwan?
7. Why does Boori Ma take on this role? Do you think this job is ‘fitting’ for her? Is she
valued?
8. What does Mr. Dalal value?
9. What impact does the installation of the basins have on the lives of various tenants?
Name each character and provide a detailed account.
10. Can Boori Ma rely on the Dalals? Do you believe their intentions were good? Explain.
11. How does the presence of the workmen affect Boori Ma’s life?
12. What is Boori Ma accused of? How have the tenants treated her?
a. What is your opinion of what has occurred?
13. “What a building like this needs is a real durwan.”
a. What is ironic about this statement?
14. Why does Boori Ma always talk about her old life?
15. Why is there so much description of her bedding?

‘Sexy’
This story, set in the USA, is used to show two perspectives on the same subject –
people having affairs. The central character, Miranda, is not of Indian background, but
her lover, Dev, is. However, his background seems to be irrelevant.
The story is told from Miranda’s point of view, a woman who doesn’t appear to be
particularly astute. By entering into an affair with a married man, Dev, she gains
pleasure, feeling special and wanted; even going to the point of buying an alluring
cocktail dress to act out her dream of being treated in a special way. This dream comes
to nothing when Dev visits and it is clear he just wants sex: ‘he carried her over to the
bed, wearing sweatpants and sneakers, and enters her without a word’. (p.93) She can’t
find a way out of this situation, apparently stuck in stasis.
A way out is presented to her with the parallel story that runs through the narrative, the
story of her work friend Laxmi’s cousin’s husband. After leaving his wife for a much
younger woman his family is in uproar. The two affairs are juxtaposed to show why
people might commit these acts of betrayal. Lahiri is careful not to damn their motives.
She seems to say that people will do things to feel important, often to the detriment of
others, and in the long run, themselves.
Miranda works out that Dev is using her for sex when she is babysitting the cousin’s
precocious child and he explains what he means by ‘sexy’: ‘It means loving someone
you don’t know’. (p.107) This reveals to Miranda what has happened. She thought she
knew Dev and was special to him. Yet, Dev seems to have no desire to make the leap to
understand and relate to her.
The story ends with Miranda postponing meetings with Dev, not wanting to make a
decision, but at least able to think about her sense of self as something other than a
cliché or stereotype.

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Comprehension
1. What is a “wife’s worst nightmare”? (page 83)
2. Draw parallels between Laxmi and Miranda’s stories.
3. How does the affair come about? How is the affair described?
4. Are any moral judgements made? How?
5. What reader response do the following characters evoke: Laxmi’s cousin, Laxmi’s
cousin’s husband, Miranda, Dev, Dev’s wife, Robin
6. ‘you’re sexy’, How does this comment make Miranda feel? How does it make her
behave?
7. What memories does Miranda have on the Dixits? What comment is Lahiri making of
how someone from a different culture is viewed and treated?
8. What comments can you make about Miranda’s role as babysitter?
9. Why does she put on the dress for the young boy?
10. Why is the young boy written in such an unappealing way?

‘Mrs Sen’s’
Like ‘When Mr Pirzada Came to Dine’, this story is about trying to adapt and change to
a new life. The central character is a young boy, Eliot, who needs to be babysat after
school. Like Miranda in ‘Sexy’ he is not Indian, but Mrs Sen who comes to look after
him is. Unlike other Indian characters in the collection, she is unable to change and
adapt to the new way of life in the USA. Her husband seems kind, but he is unable to
help her adapt and change. His life at the University is ordered; he has adapted to the
new life, but she is unable to do so. This inability to conform to this new society is
shown by her inability and unwillingness to learn how to drive. Her separation from the
culture she is living in is shown when she is on a bus with a ‘bloodlined bag’ (p.132) full
of fish and a woman with ‘a crisp white bag from the drugstore’ (p.132) tells the bus
driver. Mrs Sen is living in a world where blood and the real world are ever-present, a
distinct contrast with the antiseptic world of America.
Mrs Sen is frustrated at her new life and wants to hold on to her old life. Conversely, Eliot
is in wonder and awe at the new life he has when he is with the Sens, experiencing the
natural world in a different way than he did previously. For example, he compares a trip
he makes in the car with the Sens with the same trip he makes with his mother: ‘in the
back set of Mr and Mrs Sen’s car the ride seemed unfamiliar, and took longer than usual’.
(p.126) This life with the Sens is significantly different from the hurried and often
impersonal life with his mother. The fact that the story ends with Mrs Sen crashing the
car is a metaphor for the fact that she will never get used to living in America. This event
precipitates Eliot no longer going to the Sen’s; however, this separation awakens in Eliot
a new understanding and interpretation of the natural world.

Comprehension
1. Why didn’t the previous two carers (Amy and Mrs. Linden) work out?
2. Why does Eliot have to be cared for at Mrs. Sen’s place? Why is this significant?

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3. Describe Mrs. Sen’s apartment? What does this say about Mrs. Sen?
4. Describe Mrs. Sen. What is your impression of her?
5. What is your impression of Eliot’s mother?
6. Has Mrs. Sen assimilated successfully? Discuss in detail and provide quotes to
support your response.
7. Compare Eliot’s home at the beach house with his mother to that of his time at
Mrs. Sen’s.
8. Comment about Mrs. Sen’s vegetable cutting ritual and its significance.
9. Discuss the two things that make Mrs. Sen happy. Is Mrs. Sen a happy person?
Explain. “Do you miss your mother, Eliot, these afternoons with me?” The thought
had never occurred to him. “You must miss her..... You are wiser than that, Eliot.
You already taste the way things must be.” (pages 122 – 123)
10. Compare Eliot and Mrs. Sen’s childhoods. To what does Mrs. Sen attribute
her sense of loss? Is Eliot better off being constantly separated from his mother?
Does this have any bearing on his future relationship with her? (pages 131 -132)
What comment is Lahiri making about families?
11. “...The man said he looked up my name in the telephone book. He said ther was
only one Sen. Do you know how many Sens there are in the Calcutta telephone
book?” (page 124) What is both positive and negative in what Mrs. Sen says to
Eliot?
12. How is Mr. Sen portrayed in the story?
13. How does Mrs. Sen’s behaviour change? What causes it to change? Why does
Eliot tell his mother he hasn’t noticed any change?
14. Does Eliot witness any affection between the Sens? How do you think he views
their relationship? How does Lahiri intend it to be viewed?
15. How does the story end for: Mr. Sen? Eliot’s mother? Mrs. Sen? Eliot?
16. How is the second visit to collect the fish different from the first? What purpose
does this serve in the story?
17. How is Eliot’s mother presented and why?

‘This Blessed House’

This story is a more amusing take on trying to fit in. It looks at how a husband Sanjeev
and his wife, Twinkle, encounter the world together. Upon moving into their new home
they keep finding Christian religious iconography secreted in various parts of the house:
much to Sanjeev’s disgust and Twinkle’s delight.
Sanjeev is obviously obsessive and uptight, interested in reading the liner notes of a CD
to understand what it means. He is presented as a lonely person, who doesn’t know if it’s
better to be lonely and contained or have unhappy companionship. By comparison, the
aptly named Twinkle confronts the world in a carefree and breezy manner. Despite the
fact that they are from a non-Christian Indian background, Twinkle is adamant that they
keep and display the found religious paraphernalia.

14
While their arranged marriage is an impediment to them getting to know each other, it is
less an Indian story that one about trying to bridge the gap between two people. Twinkle
seems to relate to others with ease, yet Sanjeev finds making connections very difficult.
When asked to take a huge bust of Jesus down from the attic, an image he hates,
Sanjeev does what is right: ‘Sanjeev pressed the massive silver face to his ribs…and
followed her’. (p.157) This final image indicates that even though he may not love his
wife, he is at least willing to do the right thing by her, something he did previously
bycompromising over the location of a statue of Jesus. Another interpretation of the final
line could be an indication that their forthcoming years of marriage will be unhappy and
full of unsaid anger.

Comprehension
1. Make a list of the things Sanjeev observes.
2. What does this say about: Sanjeev?; his relationship with Twinkle?
3. How does Sanjeev feel about the Christian statues/paraphernalia? Provide quotes
in your response. Why does he feel this way?
4. “No, we’re not Christians. We’re good little Hindus.” (page 137) What tone of voice
does Twinkle use when she says this? What does she mean?
5. What significance does Mahler’s Fifth Symphony play in the story?
6. Why does Twinkle display the Christian items? What does she gain from searching
for and finding further items?
7. How does Sanjeev respond? What impact does this have on her relationship with
Sanjeev?
8. Describe: Twinkle; Sanjeev.
9. How does Sanjeev perceive Twinkle? How does he feel about her? What does he
expect of her? Does he have a right to expect these things of her?
10. Describe Sanjeev and Twinkle’s marriage. What is good and bad about it, right and
wrong? Do they have distinctive roles in the relationship? Are they fulfilled with
each other? What is Lahiri saying about marriage and love?
11. How do the guests at the housewarming party respond to Twinkle? How do
12. they help Sanjeev to see Twinkle? Is there any resolution for Sanjeev at
13. the end of the story? Explain.
14. What effect does humour have in the story?
15. What do Twinkle’s tears signify in the story?

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‘The Treatment of Bibi Haldar’
For this fable-like story, Lahiri returns to India. Bibi Haldar has fits, and is despised and
exiled by her family. She is reduced to living in the back of the family’s shop and is
shunned by all in the village. All Bibi desires is a husband, but marriage is unlikely due to
her neurological condition. She is gradually de-socialised by her family, despite the rest
of the village’s attempts to help her.
The family’s treatment of Bibi hastens the demise of the shop and the family moves away
leaving her behind. She slowly comes out of her insular exile and emerges as a new
person with a child. She is revitalised by the child, despite not knowing who impregnated
her, but it gives her purpose. Bibi also starts running the shop to great success.
As a story it doesn’t have too many links with the others in the collection, yet it does
provide hope for people. Lahiri seems to be saying that love and support is what will cure
people; that psychological problems are caused not by things within a person, but factors
outside them.

Comprehension
1. Write a detailed characterisation of Bibi Haldar. Incorporate details of her
personality and feelings, values and desires, physical features, occupation and role
in society.
2. What treatments does Bibi undergo?
3. What is Bibi’s medical ailment?
4. What is Bibi’s psychological ailment?
5. What rituals does Bibi observe in preparation for an intended marriage?
6. Is Bibi equipped to be a wife? Explain.
7. What are people’s attitudes towards Bibi becoming someone’s wife? What is your
reaction to their responses?
8. How is Bibi treated by Haldar and his wife? How does Bibi treat them?
9. How do the townspeople treat:
-Bibi?
-Haldar and his wife?
Comment about their treatment and your opinion of it.
10. Is the birth of Bibi’s son the cure to her ailment? Explain.
11. How does Bibi’s life and circumstances change after the birth of her son
12. What is the lesson being taught in this story?
13. What is the family’s motivation for putting the ad in the newspaper?

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‘The Third and Final Continent’
The final story looks at outcasts: the first is the narrator, an unnamed male Indian
student; the second is the woman he rents a room from, Mrs Croft; and finally, the
narrator’s wife, Mala. They are all strangers in a strange land at some point in the story
and all impact upon each other.
The story starts with the narrator tracing his trip from India to the USA, via London. He is
often unaware of what to do in these new societies; for instance, eating cornflakes for
every meal; a classic sign of being out of place. He sees a kindred soul in Mrs Croft. She
is a woman so old who is almost out of time. He looks after her, in the same way he
looked after his mother and during her increasing dementia. However, once he learns her
real age, over a hundred, he feels he has to treat her differently, yet he states ‘apart from
those eight dollars [for rent], I owed her nothing’. (p.189) This belies the fact that she
gave him an opportunity to be a good person to her. She is slowly and inadvertently
teaching him how to look after people, opening up his heart.
This kindness is invaluable once his wife, Mala, finally arrives. The earlier contact he had
with her is tinged with exasperation; she seemed too unworldly and hard to look after.
Indeed, she is weak when she gets off the plane, not having anything to eat since the
only food option was oxtail soup. Yet in the same way he considers Mrs Croft, he slowly
considers Mala and they build and establish their relationship.
In a way, they are all students of each other. Mrs Croft’s influence on his life helps him
relate to his wife. Her importance is highlighted by the fact he regularly drives by Mrs
Croft’s street long after she is gone to point where they both lived. The world has moved
on, yet the place in his memory for her has not; the connections he has made linger on.
1. What picture does Lahiri depict of the narrator and his life thus far in the opening of
the story?
2. “I flew first to Calcutta, to attend my wedding...” (page 176)
What tone of language is being used here? What does this suggest about the narrator’s
marriage? Refer to and discuss information on page 181.
3. How does Lahiri depict the narrator’s initial experiences in America?
4. Describe the old woman (Mrs. Croft) – her physical appearance, personality,
values, behaviour and mannerisms.
5. Describe the narrator’s initial reaction to Mrs. Croft. Do his feelings towards her
change? How? Why?
6. How does the narrator initially feel about repeating the word “splendid”?
Why does he repeat it on command? Why does he continue to say it? What does this say
about his character?
7. Reference to the moon landing is made several times. What information is given in
each instance? What significance does this play in the story?
8. What information is given about the narrator’s mother and his role in the family?
(pages 182, 187 – 188)
Compare this to Helen’s role in caring for her mother. (pages 184 – 187)

17
 9. Why does Mrs. Croft still live in her home at age 103?
10. What signifies that Mala is a married woman? (page 189)
11. How does the narrator describe Mala’s impending arrival? What are his
feelings towards his wife joining him? How is Mala feeling? What is your
opinion of these characters?
12. What role does the narrator assume he will play as Mala’s husband?
13. How does the narrator feel about leaving Mrs. Croft’s house?
14. What things indicate that the narrator has adjusted to life in America?
15. How does Mala fulfil her role as wife?
16. In what way are the narrator and Mala “still strangers” ? (page 192)
17. How does Mala and the narrator’s visit to Mrs. Croft allow the narrator
to view Mala differently and develop feelings for her?
18. “She is a perfect lady!” (page 195)
Why does Mrs. Croft declare this after she scrutinizes Mala?
How does this “moment in Mrs. Croft’s parlour... [possibly become]... the
moment when the distance between Mala and me began to lessen” ? (page
196) How does their relationship develop and grow deeper?
19. How have the narrator and Mala made America their home? Why have
they “decided to grow old here” ? (page 197) What Indian traditions
have they none the less maintained?
20. “I am not the only man to seek his fortune far from home, and I
certainly am not the first.” (page 198)
What has the narrator achieved since he left India and settled in the
‘third and final continent’? Are his achievements significant or
insignificant? Explain.
21. What is the relevance of the title?
22. Why are the moon landings included in the story

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A PERSPECTIVE ON THE TEXT
Since the stories were largely written for a number of different publications, they don’t
have a common thread. Interestingly, there are ideas and thoughts Lahiri returns to in her
stories, suggesting there are a few underlying concerns she is trying to address.
Her short stories generally fall under two categories. The first is the classic short story,
with a beginning, complication, and resolution. This structure underpins many
contemporary narrative formats, including novels and films. The concern of many of
Lahiri’s short texts is not the characters themselves, but how they overcome the
narrative complication. These include ‘The Treatment of Bibi Haldar’ and, to a certain
extent, ‘A Temporary Matter’.
Lahiri balances these stories with other more observational pieces. These types of short
texts are more to do with snapshots of people’s lives than overcoming a problem. ‘Mrs
Sen’s’ is a classic example where little unfolds beyond Eliot’s growing understanding of
himself and Mrs Sen. Similarly, ‘A Real Durwan’ provides the reader with a person, Boori
Ma, and a vision of her life as it deteriorates.
Two noticeable stylistic choices are used to explore different ideas. The first is how
people learn more about themselves by solving a particular problem or overcoming an
obstacle in their way. The second shows how the world and people are. The realisation
and revelations in the text are more to do with the character than the plot.
All of Lahiri’s stories address the idea of people reaching out to others, how well they
understand this or achieve success in this can be difficult for the reader to gauge. Lahiri
seems to be saying that our attempts to connect with others are often misplaced or
futile. Yet she doesn’t dismiss these attempts, they are what makes us human.
While there are only two stories told from a first person perspective, there is always a
central character whose internal thoughts and emotions are presented over others. It is
useful to note how often the reader is made aware of a character’s shortcomings or
dramas before they themselves are; for example, the way Miranda is used by Dev in
‘Sexy’ is made clear to the reader much sooner than she realises it herself. Even by the
end of the story the reader is still doubtful whether she can truly see what has happened.
Similarly in ‘Mrs Sen’s’: it takes until the end of the story for Eliot to realise something the
reader is already aware of; in this case, Mrs Sen’s difficulties in settling in and coping
with her new world experience.
Like many short story writers, Lahiri uses metaphors and comparisons to reinforce her
central themes and ideas. The most commonly used metaphor or image is the use of the
natural landscape. Many of her stories use the natural world to illustrate the underlying
theme. Even though the reader is granted an insight into the central characters’ heads,
there is still much that is hidden. By ending her stories with glimpses of the natural world,
the reader is given an insight into how the central characters are really feeling. ‘Sexy’
endwith a clear blue sky, while ‘Mrs Sen’s’ ends with ominous grey waves. Such
metaphors give the readers clues to the true state of the characters emotions.
The Indian expatriate experience is explored in the collection. The cultural differences
faced by some of the characters face are peculiarly Indian, particularly those stories
based in India. These include the role of family; consider how many of the marriages
depicted in the collection are arranged. Lahiri’s protagonists try to find a way to
reconcile their desires to be with a person they love with their desire to be secure.

19
Neither option is shown to be the right one; her characters just try to come to peace with
the compromise they have made.
The role of family is central to these stories. It is interesting that the Indian families,
despite their formality and lack of apparent love are seen to be closer than the non-Indian
families. This is an indication that the idea of ‘family’ not only means a blood relative, but
also implies duty, a duty that is repaid in later life.
The Indian background helps centre the stories in an identifiable milieu; however, they
are also about universal themes and ideas. They explore ideas about what it means to
enter into another society and what it means to be an outsider in these new societies.
Issues of identity are more to do with who you are, and what it means to identify yourself
with one particular group. This is best shown in ‘When Mr Pirzada Came To Dine’ and
‘Mrs Sen’s’.
CHARACTERS
Jhumpa Lahiri is adept at creating characters with credible emotions and feelings, and
who exhibit realistic and believable attributes. While there are no recurring characters,
there are common concerns or ideas that correlate roughly with the age groups of Lahiri’s
characters.
The children in the book seem to be searching for an identity. They don’t necessarily
choose one by the end of the story, but are still in wonder and awe at the choices
available to them. Even though ‘When Mr Pirzada Came to Dine’ is told as a memory with
the benefit of hindsight, the story is told as Lilia experienced it. She spends much of the
story trying to work out who she is.
She embraces the American culture and schooling through her history lessons and
Halloween costumes. Yet she still tries to work out who she is by looking around her.
The clues to another reality and history are there, but she can’t read them as well as the
American clues.
Another of the young characters in the collection, Eliot from ‘Mrs Sen’s’, is also trying to
determine his identity. His lack of understanding towards his mother and his own life is
mirrored by Mrs Sen’s frustration at the new world she finds herself in. The greater
tragedy is that he cannot relate and share his present sense of dislocation with her. The
young boy in ‘Sexy’ by contrast is precocious, yet knows less of himself than Eliot. He is
in the throes of establishing a new sense of self, using the language and attitudes of his
absent father in an attempt to work out who he is.
The other young characters are relatively peripheral, but are present to illustrate
Lahiri’s points about developing identity. Lahiri suggests that characters are what their
family says they are, and it is only once they get older that the characters begin to
question their construction of themselves.
The second character types in her stories are the unattached younger adults. Miranda,
Bibi Haldar and the narrator in ‘The Third and Final Continent’ are included in this group.
They, like the children in Lahiri’s stories, are also searching for their identity. Unlike the
children, they are able to articulate a vision of what they don’t want to be like: in
Miranda’s case, she does not wish to be merely a sexual object; and Bibi Haldar does not
want to grow into an old spinster. Like the children, these characters are not able to
shape their realities, not because they don’t have the ability, but rather because they don’t
know how to place themselves in their world. Miranda can’t work out her sense of self

20
because of a lack of understanding of others and, at least until the end of the story,
herself. For Bibi her sense of self is hard to define because of her condition and her
family’s insistence that they control her life. The narrator in the ‘Third and Final Continent’
is unable to work out who he is, at least not until he arrives in the USA and defines
himself against Mrs Croft and his soon to arrive bride.
Lahiri moves from these younger characters to established married couples. Their
concerns as characters are less to do with their sense of self, but rather how they
interact with their new partner. In ‘A Temporary Matter’ both Shukumar and Shobas’
ways of dealing with grief are different; she bythrowing herself into her work, he by not
doing any work. This is a reflection of both of their personalities; she is well organised
and he is more distracted. He is able to produce high quality work, but to little academic
or intelligent gain.
This makes Shoba’s decision to leave a surprise for him, but believable for the reader.
She is seen to be dealing with the grief over the loss of their child in a business-like way,
unlike Shukumar’s unfocussed manner. He can’t see the ‘big picture’ or plan like she can.
By contrast, the young couple in ‘Blessed House’ are learning about each other in a
much more tangential, but in many ways, more stable manner. Their difference in
personalities is highlighted and the way they deal with this gap is in sharp contrast to
Shukumar and Shoba. Sanjeev’s ability to compromise, suggests their marriage will
continue. To keep going they have to be willing to acknowledge the unhappiness in their
relationship, but they have to also think of the happiness in their lives. They still have
the vestiges of joy and spontaneity that have been sucked out of the relationship
between Shukumar and Shoba.
The couple in ‘The Third and Final Continent’ are also representative of the attempt to
control and deal with living and coping with others. The pair manages to deal with their
lives by forgiving each other. The ability to absolve and understand the other seems to
be what separates the happy and unhappy characters in this age bracket in Lahiri’s
collection.
The fourth character types are the older married couples with children. These characters
are resigned to their lives. In ‘The Interpreter of Maladies’ the reader is presented with
two couples, the Das family and Mr Kapasi. Both Mrs Das and Mr Kapasi are searching
for fulfilment in their lives; in her case, it is absolution for cheating on her husband.
Interestingly, Mrs Das is not sorry for the act of having sex; she seems unfussed when
relating the story. Instead, she is unhappy that she has not been able to tell the story, the
same kind of guilt that the characters in ‘A Temporary Matter’ experience. She is
focussed on her family even though she doesn’t love her husband anymore. Mrs Das
acknowledges the compromise she has had to make for a sense of happiness.
By contrast Mr Kapasi is resentful of his marriage and his dreams seem to be the only
things that sustain him. His dreams are contrasted with his lack of imagination, much like
Shukumar. Both of them are people who possess great skills, but without the ability to
think about them differently. Mr Kapasi’s dreams are a way of dealing with his reality, but
when the opportunity to realise those dreams is presented to him, he is unable to take
action. In this way he is a foolish and tragic figure, unaware until he sees his address
fluttering away in the breeze, that he is unable to make his dreams come true.
The reader is offered glimpses of Lilia’s parents in and they seem to be much like the
other older married couples in the collection. Their concerns are to do with their sense of
self and enforced compromise; for instance, after Lilia’s father laments her apparently

21
insular education, her mother silences him.
Their private compromise has migrated to the public sphere.
The final character types are the older ones. While some are married, they are
presented to the reader as uncommitted and relatively free. Mr Pirzada as seen through
Lilia’s eyes is glorious. He looks different and is far removed from her parents’ apparent
mundane existence. He sees in Lilia the girls that he has left behind in Bangladesh. He
is also comfortable in his sense of self; he dresses formally and is never without his hat.
Mr Pirzada’s ability to conform and alter who he is in the American context is only
achieved through the friendship he has with Lilia’s parents. Lilia’s presence as a proxy
daughter enriches his sense of self. In a similar way, Mrs Croft manages to cope with her
new world by staying resolutely connected to the old world. While she lives in the
modern world, remarking on the moon landing, her values, such as no visitors of the
opposite sex and expressions such as ‘Splendid!’ preserve her identity. She is able to
remain unchanged because she is still living her past life. Boori Ma also survives her
perceived fall from grace by staying in her imagined past with servants. Interestingly, the
reader isn’t told whether this world really existed for her or not. It is enough that she
remembers it.
However, she finds her final eviction difficult since she does not have the keys around
her waist, the symbols of her old life. Her identity is on the verge of fragmenting.
Not all of the older characters cope with the world they live in. Mrs Sen can’t cope with
her new reality. Her sense of self is too tightly controlled by her past and she feels
dislocated. Buying fish is central to her, however the efforts she has to make to ensure
she can continue in this manner are too great for her. Mrs Sen is trapped, not by her
inability to change, but by her inability to let go of the past. In this respect, she is one of
the most tragic of all of the characters in the collection.
I S S U E S AND T H E M E S
The central theme of the collection is identity: who we are and who we feel ourselves to
be. Lahiri addresses these questions and indecisions through the Indian expatriate
experience. Although they are strongly centred in particular cultures, her settings are less
to do with particular places and traditions, instead they illustrate broader human
concerns. To say the stories are only about identity is to ignore the wider themes of the
collection. She poses four distinct questions concerning identity:
• How do we search for an identity?
• How can we change our identity?
• How is our identity changed for us?
• How are we trapped by our identity?

How do we search for an identity?

This question is covered in the stories ‘When Mr Pirzada Came to Dine’ and ‘Mrs Sen’s’.
The central characters are trying to determine what sort of person they are. Lilia’s identity
in the story is still fluid: she doesn’t know who she is and her attempts to be American
feel as false as her attempts to be Indian.
While she understands American culture, she is excluded from it by her ethnicity and
her experiences at home. Lilia’s attempts to forge an Indian identity flounder through
physical distance and her own parents’ insistence that she be like everyone else.

22
Similarly, Eliot is searching for the type of person he wants to be and he is unsure of the
direction to go in. Even though he is a largely passive character there is still an implied
preference for Mrs Sen’s reality. He is unable to be part of this reality since Mrs Sen
herself is unable to be her true self.
Many of the other characters explore ways to define their identity. The narrator of ‘The
Third and Final Continent’ in his search away from his family and his homeland finds an
identity in the USA. This identity is not far removed from the one he escaped from, an
intentional choice on Lahiri’s part. This implies that we are only who we are – that, in
fact, we each have a set of qualities that make up our core identity no matter where or
how we live.

How can we change our identity?

Unlike Lilia, her parents and Mr Pirzada are more adept at changing and altering their
selves. Lilia’s parents seem content and able to alter their sense of self. While Mr Pirzada
appears to be changing his sense of self, he really manages to remain the same person
through the clothes he continues to wear and the substitution of Lilia for his daughters. All
of this takes place in the shadow of his changing nationality, from Pakistani to
Bangladeshi. This is used to show that even though his passport is changing, he is still
able to continue his sense of selfhood. His attempts to be more American, such as
carving the Jack-O-Lantern are brought asunder by the news from
Bangladesh. The reader is lead to interpret the ruined carving as a sign that despite his
desire to assimilate, he is still linked to his old life.
In ‘Sexy’, Miranda tries on a number of identities in her search to feel comfortable within
herself. She recalls being exploited when she was younger; however, the affair with Dev
offers her hope that she can establish a new sense of self. This is dashed once she
realises that she is being used; curiously, this realisation is the true catalyst for being
able to think of herself differently. Even though her affair has failed she is able to cast
herself in a changed role; she still has the ability to think about herself in a different way.

How is our identity changed for us?

In ‘A Real Durwan’, Boori Ma’s personality is shifting. Her attempts to create an identity
for herself, either through her stories or her presence in Calcutta, are irrelevant. She
will always be what others tell her she is. This is shown when she is thrown out of the
apartment building. Boori Ma may persist in claiming that she was high born, but it is
irrelevant once others turn against her. She goes from being tolerated to being reviled.
In this story, Lahiri suggests that we are only what others say we are.
This is a point of view that is argued against in ‘This Blessed House’. Not only has
Sanjeev changed from being single to a married man, but he is also required to be
thoughtful and negotiate in ways not previously necessary. This shift of identity is very
hard for him to adjust to since, on the one hand, he is happy about the love and affection
that exists between himself and Twinkle.
However, Sanjeev is also furiously angry that his desires won’t always be met; a fact he
appears to be resigned to by the end of the story.
Interestingly, Bibi Haldar is trapped inside a version of herself which she tries to escape
from. She is unable to do so; however, once she becomes a mother she achieves the full
identity she craves. She moves from the isolated woman of the village to achieving a

23
curious form of liberty by having a child; even though it is out of wedlock.

How are we trapped by our identity?

Mr Kapasi in ‘Interpreter of Maladies’ is struggling to change his identity. Although he is
trying to hold on to his old aspiration of being a translator for politicians, he uses his
dreams to cast a new role for himself. This is despite the fact that he is not able to
actually move away from this reality. He will remain nothing more than a cipher for
others.
The Das family seem secure in their identity, which makes Mr Kapasi anxious: how can
they be a ‘happy family’ when they don’t behave according to his impression of the way a
family is meant to behave. He is unaware until the end of the story that he is trapped in
his own narrow-minded vision of the world and his place in it.
Mrs Sen is comfortable in her identity, just not where she is. She is unwilling and
unable to adjust to the different identity demanded by her new environment. Her
attempts to change herself, such as learning to drive are unachievable. She is trapped
by her inability to change and the fact that her sense of self is linked to her past.

The difficulty of human contact and loneliness

Another one of the themes in the collection is the gulf that exists between people and
their often detrimental attempts to bridge them. The collection also looks at loneliness
and how people try to avert it. These two themes intertwine throughout the collection.
In ‘A Temporary Matter’, the grief Shukumar and Shoba feel separates them until the
final estrangement at the end. They are unable to deal with their emotions and the sad
truth of their relationship. It is only by bridging the gap with their candlelit meals that they
are able to express their emotions; however, this only serves to show how far apart they
have grown. Despite this, there is a bittersweet sadness to their renewed intimacy; they
have been able to communicate with each other even though it has led to their break-up.
This new capacity for communication seems to be more important than their marriage.
Mr Pirzada also tries to assuage his loneliness by giving the love he would have shown
to his daughters to Lilia instead. He is able to cope with the distance and the separation
from his family by loving Lilia. She responds in kind too, yet it is a response that is more
to do with playing out a role. She forgets his significance in her life after he has returned
home, signified by throwing away the candy with which she performed her superstitious
act. This is not necessarily seen as a negative act, since the memory of Mr Pirzada was
so vivid and important. This seems to indicate that human contact by its very nature is
fleeting, and the ability to communicate and share no matter how brief is vital. This idea
is also borne out by ‘A Temporary Matter’.
‘Interpreter of Maladies’ shows how sometimes the differences between people can’t
bridge the gaps thus hindering the possibility of connection. This is partly because Mr
Kapasi is himself not able to be anything more than a cipher, and also because he and
Mrs Das are unable to share their culture.
This is not a fault of cultures, but a failure of the imagination by both of them.
‘Blessed House’ suggests that making a connection between people is difficult and that it
often leads to anger and disappointment. Both Twinkle and Sanjeev show their
frustration towards the other. The story ends with a possibility that Sanjeev will alter his

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attitudes and find the joy of common connection. Something that may or may not occur,
but the reader is consoled that he can see the benefits of it even if he can’t make it
happen.
LANGUAGE AND STYLE
Jhumpa Lahiri is a masterful stylist. She uses a number of different techniques in her
writing to add depth and greater meaning to the stories.
Her use of narrators is strategic in creating meaning. She writes in the first and third
person, in one instance the first person plural. She also gives more understanding of a
particular character in her narratives and lets the reader appreciate what they are
thinking. Since these stories are inextricably linked with people, it helps reinforce their
intense singular viewpoint. However, despite this detailed information, the reader is
often not shown what these characters are really thinking. The reader has to fill in the
emotional blanks of the story by drawing on the imagery and metaphors associated with
the characters.
While the reader gets to understand one character in detail, they are often not the most
interesting or central character in the narrative. Many of her stories, like ‘Mrs Sen’s’ and
‘When Mr Pirzada Came to Dine’, are often about another character. The narrators of
these stories are not the protagonists of their story. This is an intriguing technique, since
the reader is searching for an understanding of both characters, the person telling the
story and the central character. The reader can track the narrator’s progress through
their attempts to comprehend the other character.
The reader is often given indications of what will happen, or the true meaning of events
before the characters themselves do. This is an effective technique; it draws the reader
in and makes them hope these characters will understand their plight and the way to
resolve it. However, this is a false hope for some of the stories. Many of the stories are
recollections, even though the characters are remembering these events, they still
present their memories as they experienced them. They tend not to interpret what has
really happened, leaving the reader to decipher meaning.
Lahiri’s short stories often have few characters and repeated iconography. This is used to
reinforce her point in the particular story. Consider examples such as: Sanjeev reading
the liner notes, Shoba’s coloured pens and Mrs Sen’s curved knife. What do these
objects represent in terms of character and theme?
Lahiri often draws on the physical world as a counterpoint to the action in the story.
When her characters undergo stress and anxiety, images of the natural world often
follow. This is to provide cues to the characters’ internal life. This is especially important
since they are often unable to express or indicate their emotions.
She also pointedly incorporates metaphors into the stories. These metaphors are used
to compare the characters’ plight and their anxieties. They provide the reader with two
ways into the story. One example includes the religious iconography Twinkle finds
throughout the house. Since ‘Bless This House’ is about faith and trying to find meaning
in marriage, this search is contrasted with the apparently unshakeable religious faith the
previous tenants had Sanjeev is meant to see that he has to submit to faith and trust to
enjoy his marriage.
Within stories, Lahiri sets up contrasts between characters to highlight her views about
human nature and relationships. The Bradford couple in ‘A Temporary Matter’ are

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intended to be a counterpoint to Shukumar and Shoba. The two couples apparent
happiness and connection are contrasted, Shukumar wishes he could be like the
Bradfords; but to achieve this he feels he has to be honest, leading to less than happy
results.
CLOSE STUDY

Passage One
Carving the Jack-o-Lantern, pages 34-36
This extract from ‘When Mr Pirzada Came to Dine’ covers the Halloween preparations.
This section addresses cultural differences and how people try to connect with others.
Mr Pirzada’s attempt to carve the Jack-o-Lantern is ruined when news from the conflict
in Bangladesh is conveyed.
1. Why does Mr Pirzada decide to ignore the television so they can carve
the pumpkin? What does this suggest about his relationship with Lilia?
2. Why is there a close description of what Mr Pirzada is wearing, down to
his opal cufflinks? Think about it in the context of wanting to be like
Americans. Why then do his clothes ring false?
3. Why do the family and Mr Pirzada eagerly engage in the carving of the
pumpkin? What does this suggest about their attitude towards their
adoptive country?
4. What similarities are there between Mr Pirzada and the reporter on the
television? What effect does this have on the reader?
5. Why does Mr Pirzada seem so competent and confident carving the
pumpkin? What does this suggest about his sense of self?
6. What effect does the eventual shape and size of the Jack-o- Lantern have
on the reader? Why is it important to the story that it does not look correct?
7. Why is this an important passage in the story?
8. What is the significance of Lilia teaching the adults how to carve the
pumpkin?
9. Passage Two

Buying the fish a second time, pages 131-133

This extract from ‘Mrs Sen’s’ follows her refusal to drive the car. In desperation she tries
to get to the fish shop and back by public transport. This attempt is fraught with drama.
1. What kind of landscape is the shopping centre? What effect is this
description meant to have on the reader?
2. How are the women from the nursing home contrasted with Mrs Sen?
What differences between them are highlighted in this passage?
3. Mrs Sen’s description of Eliot’s future treatment of his mother is about two
things. What is Mrs Sen really commenting on?
4. How different is the service she receives in the fish shop from her

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 previous experience? Why is this important to the story?
5. What does the built environment look like in this section? What purpose
does it serve in the story?
6. Make a list of the numerous details and aspects that are juxtaposed
in this section.
7. Why is Eliot’s point of view rarely mentioned in this extract? Who does
the central character appear to be?
8. What does Mrs Sen’s despair at seeing the women in the bus shelter
signify?
9. What do the fish represent for her? Why are they so important?
10. What does the bus driver’s desire to get them to open the window
represent, especially in the light of the natural and built environments
described in this section?
Passage Three

Sanjeev feeling he has the house to himself during the party, pages 155- 157
This extract from the end of ‘This Blessed House’ is at the tail end of the party. While it
displays Sanjeev’s inability to have fun and his irascibility, it does show his growing
understanding of love and acceptance. The extract ends with him carrying the bust of
Jesus down for Twinkle.
1. What does the religious iconography represent in the story?
2. Why does he want to be undisturbed? What is his desire for a quiet night
really about?
3. What does the reference about the liner notes indicate about his
personality?
4. Is his desire to tear down the posters about them being
blasphemous or is it about something deeper?
5. What is the stated reason for not pulling the ladder up? Where is the
comedy or humour in this reason?
6. What seems to be the source of his anxiety and the knotting in his neck?
7. What stops Sanjeev from going into the bedroom? What does this
suggest about his feelings towards Twinkle?
8. What is the relevance of her finding the kitschiest of the objects at this
point in the story? What sort of test is Sanjeev being put through by the
writer?
9. List the reasons why he hates the silver bust. What do you think is the
most important? Why?
10. What seems to be the consolation to having this thing he hates on the
mantel? Is this consolation enough to keep him happy?
11. Why is Sanjeev careful with the feather hat? What does it show about

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 him?
12. In what mood do you think Sanjeev leaves the story?
13. FURTHER ACTIVITIES

Individual student activities

• List the recurring images or common elements of the stories. What themes
are they linked to?
• Select one of the stories and insert the emotions the characters would be feeling.
Compare your responses with the rest of the class.
• Write down some examples on the gulf and separation between people – try to use
real life examples if appropriate or draw from other texts. How was this separation
overcome?

KEY QUOTES
‘They wept together for the things they now knew.’ (p.22)
This quote from ‘A Temporary Matter’ illustrates how difficult it is to make connections
with other people, to reveal yourself to others can be very damaging. It also suggests
that telling the truth is important, despite the fact it can cause considerable grief.
‘Lilia has plenty to learn at school,’ my mother said. ‘We live here now, she was born
here.’ (p.26)
This quote from ‘When Mr Pirzada Came to Dine’ shows that many immigrants feel they
are part of the new society and should abide by the new society’s customs; also that
their old customs are not compatible with their new country.
‘It was hard to believe they were regularly responsible for anything other than
themselves.’ (p.49)
This quote from ‘Interpreter of Maladies’ by Mr Kapasi who is in amazement at the Das
parents, is used to show the lack of understanding he has of them.
He cannot comprehend that they have not only taken to the new culture, but that he
cannot bridge these cultural differences.
‘Among the wives, however, resentment quickly brewed. Standing in line to brush their
teeth in the mornings, each grew frustrated with having to wait her turn…’ (p.79)
This quote from ‘A Real Durwan’ shows how people are often dissatisfied with their
condition, even when it is an improvement on what they previously knew and
experienced.
‘As he talked he smoked three cigarettes, crushing them in a saucer by the side of her
bed.’ (p.94)
This quote, in reference to Dev’s behaviour in ‘Sexy’, highlights how he is regular in his
actions. The affair is clearly not about her needs, nor is it about building a relationship,
but rather a satisfying routine for Dev. This is something that takes Miranda longer to
notice than the reader, a conscious strategy on Lahiri’s part.
‘They think I live the life of a queen, Eliot.’ She looked around the blank walls of the

28
room. ‘They think I press buttons and the house is clean. They think I live in a palace.’
(p.125)
Mrs Sen’s sad line from ‘Mrs Sen’s’ highlights two aspects of the immigrant
experience. The first is the inability for those who are back in the home country to
understand the new life and culture. The second is Mrs Sen’s frustration at her new
life, and her desire to return to her old life.
‘Now he had one [a wife], a pretty one, from a suitably high caste, who would soon have
a master’s degree. What was there not to love?’ (p.148)
This line from ‘This Blessed House’ highlights the ephemeral nature of love and whether
Sanjeev has chosen his wife because his alternative was insufferable loneliness. It is
about the compromises people will make not to be lonely. A choice Lahiri consciously
does not judge.
‘We found her lying on the camp cot. She was about four months pregnant.’ (p.172)
This reference from ‘The Treatment of Bibi Haldar’ is used to show how the community
is vital to people, how it can and does help and save others. It is also meant to highlight
the fable-like nature of the story, that Bibi’s pregnancy is what will save her from her
troubles.
‘In my son’s eyes I see the ambition that had first hurled me across the world.’ (p.197)
This line from the final story in the collection ‘The Third and Final Continent’ highlights
the circular nature of many of these stories; that the travails the father went through in
his youth are not individual to him, but rather they are universal dramas. His
experiences are less to do with culture and more to do with human connection and
nature.
TEXT R E S P O N S E TOPICS
1. ‘It is impossible to bridge the gap between two people.’ Discuss.
2. ‘Jhumpa Lahiri’s stories aren’t about being Indian, but about being a
human.’ Do you agree?
3. ‘How people react to a situation is determined by their history and
culture.’ Discuss.
4. ‘None of the characters in these stories are at peace.’ Do you agree?
5. ‘Cultural differences are more difficult to resolve than personal
differences.’ Discuss.
6. ‘To be different is a curse.’ Discuss.
7. ‘While these stories are told from a character’s perspective, that character
is rarely the central character.’ Do you agree?
8. ‘The people in these stories are searching for something they are not
able to find.’ Do you agree?
9. ‘Immigrants shed their previous cultures with ease.’ Discuss.
10. ‘Mr Kapasi in the story ‘Interpreter of Maladies’ is not able to understand the
Das family.’ Do you agree?

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 11. ‘Becoming part of the new society is more important to migrants than retaining
their old society.’ Discuss.
12. ‘The stories people tell themselves are more important than their realities.’
Discuss.
13. How does the use of imagery from the natural world influence these
stories?
14. ‘We can never broach the space between two cultures.’ Discuss.
15. ‘While the characters’ lives remain largely unchanged, they do undergo a
transformation.’ Do you agree?
TWO GUIDED TEXT RESPONSES

Guided Response One

Topic:
‘It is impossible to bridge the gap between two people.’ Discuss.
Consider the key words of the topic. What do they mean in relation to the text?
• The use of the word ‘impossible’ is important. It is rare that you would get a question
that can only be answered in one way. What this is asking you is how the gap
between two people can be bridged.
• The ‘gap between two people’ refers to the emotional distance two people feel;
perhaps even the innate differences between two people.

Sample evidence to draw on to develop a response:

• ‘A Temporary Matter’ – the young couple eventually learn to connect, even
though it is ultimately leads to unhappiness
• ‘Interpreter Of Maladies’ – the attempts by Mrs Das and Mr Kirpasi to connect
fail
• ‘This Blessed House’ – there is the hope of a connection between Sanjeev
and Twinkle
• ‘Sexy’ – understanding the impossibility of a bond in one situation can convince
you it is possible in others
• ‘The Third and Final Continent’ – when the narrator learns to relate to his wife, a
wife he has largely resented and shunned prior to her arrival.

Some ideas to draw on to develop a response as ‘bridging the gap between people’ is
achievable when some of the following conditions or ideals are achieved:
• Understanding of others – ‘This Blessed House’, ‘Interpreter of Maladies’
• Honesty – ‘A Temporary Matter’, ‘Sexy’
• Forgiveness – ‘This Blessed House’, ‘The Third and Final Continent’.

When people achieve one or more of the above three conditions they have a possibility

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to connect.

Guided Response Two

Topic:
‘The stories we tell ourselves are more important than our realities.’ Discuss.
Before answering the topic, you may question the topic itself to ensure that you
understand its requirements. Some questions to pose about this topic are:
• What are the stories we tell ourselves?
• What is our reality?
• How do they clash?
• Which story holds more sway over us?
• Does important necessarily mean more beneficial?

In this case the question is asking whether it is better to live with a vision of our world
that is not accurate, over truth and reality.
Sample evidence to draw on to develop a response:
• ‘A Temporary Matter’ – Shukumar is so consumed by grief that he can’t see what
his wife is actually doing; this is to his detriment
• ‘Interpreter of Maladies’ – Mr Kapasi’s daydreams are fine as long as he doesn’t
have to confront them; as long as they can’t come true, they’re manageable, they
take him away from his less than satisfying reality
• ‘Sexy’ – Miranda imagines the situation to be something it isn’t; this has a damaging
effect on her, to grow and move on she has to see the world as it is
• ‘The Third and Final Continent’ – Mrs Croft lives in a world far removed from
reality, but is able to bend the real world to fit her perception; as long as she
doesn’t leave the confines of her home, it is acceptable.

Introduction
All people live, to some extent, in their heads – that is, their imaginations. People’s
internal monologues may describe a world where they are the central character.
Problems can occur when this vision of the world is overlaid with reality. Jhumpa Lahiri’s
collection ‘Interpreter of Maladies’ looks at this idea in a number of different ways,
although her stories arrive at roughly the same conclusion about the stories we tell
ourselves.
First topic sentence: As long as it is possible to control the surrounding
environment, it is possible to live in the world in our heads.
Second topic sentence: The dreams and fantasies people make for themselves can be
liberating; however, if the possibility of them coming true arrives, it can have dire
consequences for these people. Third topic sentence: While it may be convenient and
easy for the imagined life to control people’s lives, it is often better to live in the real
world, even though it may be more difficult and disappointing, it is usually more
rewarding.

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 YEAR 11 IB – ORAL ASSESSMENT
Subject: English – Literature HL + SL
Marks: 20
Date due:
Unit: Part IV Options

Topic: : The Interpreter Of Maladies – Jhumpa Lahiri

Organisation:

1. Each group of students will take at least 30 minutes in which to cover a plot summary of the
selected short stories, a reading of key extracts from the selected stories, + their personal
reflections about cultural identity and other themes as they are explored within the stories.
2. Students will be told the speaking order the week before the task.
3. You will be penalised if not ready to present by your designated timeslot.
4. Cue cards or notes are permitted, as is technological equipment / learning aids if you desire.

Task

You will be required to speak to a group of your peers and your teacher.

You will present one stories from the anthology: ‘The Interpreter Of Maladies’ by Jhumpa Lahiri. Briefly
outline the plot of the narrative and introduce the characters to your peers.

CRITERIA:

* Understanding and analysis of short story writing and the language of the genre as
represented by Jhumpa Lahiri

* Speaking skills generally (clarity, expression, eye contact, engagement with audience, tone,
vocabulary)

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 YEAR 1 / 11 IB ENGLISH MARKING GUIDE
Group Oral Task
Student name: __________________________________

Chosen Story:___________________________________

Criteria
• Demonstrates extensive, detailed knowledge and insightful understanding of chosen
short story
• Indicates highly developed ability to analyse and use language forms, features and 17-20
structures of a fictional text
• Conveys a personal reflection in a coherent, integrated and connected way A
• Exhibits evidence of flair, originality, sophistication and precision in speaking and a
strong sense of audience

• Demonstrates detailed knowledge and perceptive understanding of chosen short story

• Indicates well developed ability to analyse and use language forms, features and 13-16
structures of a fictional text
• Conveys a personal reflection in a coherent and connected way B
• Exhibits evidence of sophisticated control in speaking and a good sense of audience

• Demonstrates sound knowledge and understanding of chosen short story

• Indicates ability to analyse and use language forms, features and structures of a 9-12
fictional text
• Conveys a personal reflection in a coherent way C
• Exhibits evidence of confident control in speaking and some sense of audience

• Demonstrates generalised knowledge and understanding of chosen short story

• Indicates ability to analyse and use a limited range of language forms, features and 5-8
structures of a fictional text
• Conveys a personal reflection in some way D
• Exhibits reasonable control in speaking and a limited sense of audience

• Demonstrates elementary knowledge and understanding of chosen short story

• Shows limited ability to describe, comment upon and/or use a limited range of 1-4
language forms, features and structures of a fictional text
• Does not convey a personal reflection E
• Exhibits variable control in speaking and little or no sense of audience

Comment:..............................................................................................................................................
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