Chapter I

Introduction

Indian literature spans a variety of literary forms, including epics,

songs, dramatic and didactic poetry, narrative and scientific writing, as well as

oral poetry and music. Two ancient Indian epics are the Ramayana and the

Mahabharata. The oldest known piece of Indian literature is known as the Rig

Veda, which consists of 1028 hymns written in Vedic Sanskrit.

The earliest literature of the Christian era is Tamil. Three Sangams

held at separate eras resulted in this development. Sangam literature frequently

explores the topics of politics, love, and war. works like the Ettuthogai (eight

collections) and Pathupaatu (ten idylls) preserve the knowledge of the

Sangam period.

Ancient literature explains the Dharmashastras, which defines a

person’s obligation and describe their character. The shastras entails

mathematics and science. Kautalya's book Arthashastra, written in Sanskrit,

discusses economic and governmental policy. Significant portion of early

Buddhist literature was written in Pali, particularly the texts of the Theravada

Buddhist tradition. These texts are known as the Pali Canon or Tipitaka

(Tripitaka) in Sanskrit.

Indian literature written by diaspora authors often explores the

complexities of cultural hybridity and the blending of Indian and foreign

cultures. These works delve into the challenges, conflicts, and negotiations

faced by individuals navigating between their Indian heritage and the culture

of their adopted homeland. The literature reflects the unique experiences of

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diaspora communities, capturing their struggles, triumphs, and the evolution of

their cultural identities.

Indian diaspora literature delves into questions of identity and

belonging. It explores the sense of displacement and the longing for

connection to one's cultural roots, as well as the search for a place of

belonging in the host country. Diaspora authors often grapple with questions

of cultural assimilation, preserving heritage, and finding a balance between

multiple identities, contributing to a broader understanding of the complexities

of identity formation. Indian literature by diaspora authors sheds light on the

encounters and interactions between Indian diaspora communities and the

cultures of their host countries. It examines the dynamics of assimilation,

adaptation, and the clash of cultural values. These works capture the

experiences of diaspora individuals navigating different social norms,

traditions, and languages, presenting a nuanced portrayal of cross-cultural

interactions. It often explores themes that transcend national boundaries. The

experiences of migration, diasporic nostalgia, family ties, loss, and love are

depicted in ways that resonate with individuals from diverse cultural

backgrounds. These works contribute to a global literary dialogue and offer

universal insights into human experiences, fostering connections between

different cultures and communities.

Indian literature produced there in a variety of vernacular languages

including Sanskrit, Prakrit, Pali, Bengali, Gujarati, Hindi, Kannada, Kashmiri,

Malayalam, Oriya, Punjabi, Rajasthani, Tamil, Telugu, and Urdu as well as in

English.
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The earliest Indian literature book in the form of the canonical Hindu

sacred writing known as the Vedas was written in Sanskrit. To the Vedas were

added prose commentaries such as the Brahmanas and the Upanishads.

Harappan texts are available, but they have not been deciphered to date. Vedic

literature is intrinsically connected with spirituality. The term Veda means

Knowledge. Vedic literature is broadly a collection of three forms of writings.

The first one is Samhitas that includes hymns, incantation, benediction,

prayers, litanies, and sacrificial formulas. The second one is Brahmanas, the

voluminous prose texts which comprise the matter of sacrifices and

significance of sacrifices. The Aranykas and Upanishads, the third, discuss

matters associated with the meditation of God, and general musings of the

world and humans. Aranykas and Upanishads are partially attached with

Brahmanas or included in Brahmanas themselves and partly also exists as

independent works from other collections of literature.

The correct date of the origin of early Tamil Literature is not traceable.

But it might have begun between the AD 1st Century and A.D.2nd Century.

Early Tamil Literature is related to Sangam literature. According to Nilakanta

Shastri, Tamil literature is a fusion of Tamil and Aryan cultures, which are

different. Tholkapiyam is one of the important works of Sangam literature. The

term Sangam can be simply translated as an Academy of poets or scholars. In

the later phase, Sangam literature was under the patronage of the Pandya

Dynasty.

Beginning in the 19th century, particularly during the height of British

control over the subcontinent, Western literary models had an impact on

Indian literature, the most striking result being the introduction of the use of
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vernacular prose on a major scale. Such forms as the novel and short story

began to be adopted by Indian writers, as did realism and an interest in social

questions and psychological description.

The first distinct feature of medieval Indian literature was the

translation, adaptation, and retelling of stories from the Ramayana and the

Mahabharata, the Puranas, and myths and legends into a large number of

languages. These texts, in their new forms, reflected the local ethos of the

region into which they were translated and also became part of the host

language. For example, Kamban's work, Ramayanam, in Tamil, and Annaya’s

Mahabharata in Telugu are considered landmarks in the development of this

literature.

Medieval Indian literature is characterized by cultural encounters and

synthesis, and this is evident from the many parallel and overlapping literary

traditions that develop and the forms that they give rise to. Love and war

remain the dominant themes that preoccupy writers, and while the forms may

vary from one language to the next, at the core is the relationship between the

human and the divine.

Writers of the Indian diaspora have added a new dimension to

Indian literature. People of Indian origin have settled in all corners of the

globe, expressing their unique sense of cultural identity through the medium of

their writing. Indian literature has grown drastically and is considered to be

among the leading works in the world. It has incorporated idiomatic forms

from Indian literary languages and vernacular languages.

The contributions of Indian authors to the English-speaking world are

worthy of special recognition since they have introduced western audiences to

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India, its culture, and its customs. Indian writers have made remarkable

contributions to English literature by using the language as a tool to tell stories

rooted in their culture, history, and personal experience.

The 1981 win of the Booker Prize by the Indian author Salman

Rushdie was a watershed moment for the Indian English book. In 1993 he was

awarded the Booker of Bookers, and in 2008 he was named the best booker.

Much of his success may be attributed to his fictional art, especially in

Midnight's Children, where he chutnified language and history.

Man Booker winners Arundhati Roy for The God of Small Things

(1997), Kiran Desai for The Inheritance of Loss (2005), Aravind Adiga for The

White Tiger (2008), and Pulitzer Prize winner Jhumpa Lahiri are just a few

examples of internationally acclaimed authors who have won prestigious

awards. Rabindranath Tagore, a Nobel laureate, novelist, thinker, and

ambassador for Indian culture across the globe, is widely regarded as the

greatest Indian poets of all time. His most important works are Ghare Baire,

Gitanjali and Manasi.

R.K. Narayan is a famous Indian author best known for his works set

in the fictional city of Malgudi, where ordinary people dealt with universal

emotions. In 1935 he had his first tale, Swami and his friends. published both

Bachelor of Arts and The Darkroom (1938) followed shortly afterwards,

Bachelor of Arts, R.K. Narayan's second book, was a huge hit over there

Malgudi, the setting of many of his novels and stories, is an integral part of his

writing.

Sarojini Naidu was an activist, a champion of individuals freedom, a

poetess and a political leader. She is revered by us as India’s nightingale. In

 6

1892 she wrote The Lady of the Lake. In 1905 she published her first book of

poetry titled Golden Threshold. Poems like ‘Innovation to India’ and ‘Lord

Buddha seated on the lotus’ have made this collection famous. Naidu’s works,

such as The Bird of Time, reflect her deep connection with Indian folklore and

nature. After India gained its independence, Sarojini Naidu became the

country’s first female governor. The success of her Book of Rhymes

established her as a major figure in Indian English literature. Her poems often

celebrate India’s landscapes and festivals, blending patriotism with lyrical

beauty.

Mulk Raj Anand is one of the first authors to write in a fusion of Indo-

English with novels like Untouchable and Coolie over the course of over 40

years as a writer, he has produced many novels, six collections of tales for

children, and a wide range of other works on topics as diverse as art and

cuisine.

Kerala in the 1960s and the 1970s, depicted by Arundhati Roy in her

book The God of Small Things in 1997, is a micro version of the bigger

national scene, marked by dashing political beliefs, deep chasms separating

the rich and the poor, food shortages, economic stagnation, joblessness, and

most of all caste and gender discrimination. With The God of Small Things,

Roy not only won the Booker Prize but also brought attention to the

intersections of caste, gender, and forbidden love. His poetic prose style

captivated readers worldwide. These writers have made significant strides in

portraying women’s perspectives, creating space for nuanced discussions

about gender and identity in Indian society.

 7

Gita Mehta, a well-known author from the Indian diaspora, has

established herself as a major figure of Indo-English postcolonial literature. A

River Sutra (1993), Karma Cola (1979), Snakes and Ladders (1997), Raj

(1993), and the Eternal Ganesha (2006) are all works of Gita. One of the best

and most versatile authors of our time is Vikram Seth, who, over the course of

his impressive career, published many collections of poetry, a memoir, a verse

book, and even a monumental novel set-in northern India. The Golden Gate,

Seth’s debut book, was published in 1986. Besides the Golden Gate, his other

notable works are The Suitable Boy, published in Akademi Awards for the Seth

the same year. He is the author of three internationally acclaimed novels, four

collections of poems, volumes of translation and travel writing, a libretto, and

a biography. He is often considered one of the best writers in English.

Anita Desai has taken care of psychological realities in her novels. Her

purpose of composing is to uncover herself and later aesthetically share the

fact. Her two novels, Cry the Peacock and Where Shall We Go This Summer,

summarize the traumatic experiences, psychological stress, and anxiety that

Maya and Sita go through. Desai’s works, such as Clear Light of Day and

Fasting, Feasting portrays the complexities of familial relationships and

gender roles. Her writing is known for its introspective and psychological

depth.

Raja Rammohan Roy, known as the Father of the Indian renaissance.

Roy used English to express his progressive ideas on eradicating social evils

such as sati, child marriage, and caste discrimination. Raja Rao's novels are a

blending of philosophy and metaphysics. His novels reveal the domestic

violence against women who are shown to be ambitious, playing the role of
 8

Savitri in The Serpent and the Rope. He narrates contemporary life and deep-

rooted Hindu orthodoxy. The Cat and The Shakespeare, Comrade, Kirillov

and Kanthapura are some of his famous novels influenced by Gandhian

movements and highlighted Gandhi-Irwin Pact. His pamphlets and essays set

a precedent for intellectual discourse in English.

Toru Dutt, A pioneer among women writers, Dutt translated Indian

stories and Sanskrit texts into English. Her poetry collections, such as A Sheaf

Gleaned in French Fields, reflect the synthesis of Indian and European

influences.

Ahmed Ali, His seminal novel Twilight in Delhi depicts the decay of

Mughal culture and the effects of colonialism on traditional Muslim society in

India. Ali's portrayal of nostalgia and cultural loss was groundbreaking for its

time. Reflections of a new nation After India's independence in 1947, Indian

literature began to explore new themes, such as the trauma of partition, the

complexities of identity, and the challenges of building a modern nation.

Writers delved into issues of communalism, migration, personal freedom, and

familial bonds, reflecting the hopes and anxieties of a young nation.

Indian playwrights have used English to address both historical and

contemporary issues, often combining elements of mythology with modern

theatrical techniques. Girish Karnad’s plays like Tughlaq and Hayavadana

explore themes of power, identity, and existential conflict, blending folklore

with modern dilemmas. Girish Karnad’s works reflect the fusion of tradition

with modernity. Mahesh Dattani, as a modern dramatist, Dattani’s plays tackle

issues such as communalism, gender identity, and LGBTQ+ rights. His works,

like Final Solutions and Tara have earned him critical acclaim. Indian
 9

dramatists have enriched English-language theatre by addressing complex

themes while staying rooted in Indian cultural contexts.

Postcolonial Indian literature in English has been instrumental in

questioning Western stereotypes and reclaiming indigenous identities. Writers

such as Salman Rushdie, Arundhati Roy, and Amitav Ghosh have challenged

the hegemony of colonial narratives, offering alternative perspectives on

history, identity and nationhood. Indian writers have won numerous awards,

including the Booker Prize, Commonwealth Writers’ Prize and Nobel Prize

nominations. Their works have been translated into many languages,

influencing literary movements around the world and shaping global

perceptions of Indian culture. The contributions of Indian writers to English

literature are vast and diverse. Their ability to navigate between multiple

cultures and articulate universal themes has given Indian English literature a

distinct voice on the global stage. Whether through poetry, fiction, drama, or

essays, these writers continue to shape and redefine the literary world,

enriching it with stories that transcend boundaries.

Khushwant Singh, in his novel Train to Pakistan, provides a vivid and

heart-wrenching account of the horror of partition, depicting how ordinary

lives were uprooted by communal violence. Rohinton Mistry, in Mistry’s A

Fine Balance, examines the impact of political upheaval and economic

instability on the lives of four individuals. The novel’s portrayal of post-

independence India underscores the persistence of social inequalities.

The 21st century has seen Indian writers achieve international

recognition, winning prestigious awards and reaching a global readership.

Their works address contemporary themes such as globalization, immigration,

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and identity in a rapidly changing world. Chetan Bhagat novels like Five Point

Someone and 2 States, Bhagat has captured the aspirations of young Indians.

His accessible writing style has made him popular among a new generation of

readers. Jhumpa Lahiri, an Indian American author, Lahiri’s works such as

Interpreter of Maladies and The Namesake explore the immigrant experience

and the challenges of cultural assimilation. Contemporary Indian writers have

expanded the boundaries of Indian English literature, engaging with global

audiences while staying connected to their roots.

The poets have enriched English literature by infusing it with themes

of spirituality, cultural identity, and personal reflection. The poetic forms used

by Indian poets range from traditional lyrics to free verse and modern

experimental styles. A.K. Ramanujan was both a poet and translator, bridging

the gap between ancient Indian literature and modern English poetry. His

poems, such as “Small-Scale Reflections on a Great House”, deal with

memory, cultural conflicts, and the fragmentation of identity.

Nissim Ezekiel, considered the father of modern Indian poetry in

English, Ezekiel’s works explore themes of alienation, spirituality, and

everyday life. His famous poem “The Night of the Scorpion” captures rural

India through vivid imagery and emotional depth. Indian poetry in English

offers profound insights into the intersection of the personal and the universal,

reflecting the multicultural ethos of the subcontinent.

Chitra Banerjee Divakaruni was born on July 29, 1956, in Kolkata

(Calcutta), India. She is an Indian-born American author, poet, and the Betty

and Gene McDavid Professor of Writing at the University Houston creative

writing program. Divakaruni's works are largely set in India and the United
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States, and often focus on the experiences of South Asian immigrants. She

writes for children as well as adults, and has published novels in multiple

genres, including realistic fiction, historical fiction, magical realism, myth and

fantasy.

Chitra Banerjee Divakaruni is an award-winning author, poet, and

teacher of writing. Her work has been published in over 50 magazines

including the Atlantic Monthly and The New Yorker, and her writing has been

included in over 50 anthologies. Born in Kolkata, India, she came to the

United States for her graduate studies, receiving a master’s degree in English

from Wright State University in Dayton, Ohio, and a Ph.D. from the

University of California, Berkeley. At Berkeley, she lived in the International

House and worked in the dining hall. She briefly lived in Illinois and Ohio but

has spent most of her life in Northern California, which she often writes about.

She currently lives in Houston, Texas. Divakaruni teaches in the nationally

ranked Creative Writing program at the University of Houston. She serves on

the advisory board of Maitri in the San Francisco Bay Area and Daya in

Houston. Both are organizations that help South Asian or South Asian

American women who find themselves in abusive or domestic violence

situations.

She served on the board of Pratham, an organization that helps educate

underprivileged children in India, for many years and is currently on their

emeritus board. Two of her books, The Mistress of Spices and Sister of My

Heart, have been made into movies by filmmakers Gurinder Chadha and Paul

Berges (an English film) and Suhasini Mani Ratnam (a Tamil TV serial),

respectively. Mistress of Spices was shortlisted for the Orange Prize.

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Notable Works:

• The Unknown Errors of Our Lives (2001)

• The Mirror of Fire and Dreaming (2005)

• Queen of Dreams (2004)

• The Conch Bearer (2003)

• Vine of Desire (2002)

• Neela: Victory Song (2002)

• Leaving Yuba City (1997)

• Mistress of Spices (1997)

• Arranged Marriage (1995)

• Black Candle (1991)

• One Amazing Thing (2009)

• Oleander girl (2013)

Notable awards:

• American Book Award: Won in 1996 for Arranged Marriage

• PEN Josephine Miles Literary Award: Won in 1996 for Arrange

Marriage

• Times of India Best Fiction Award: Won in 2022 for The Last Queen

• International Association of Working Women's Best Book Award: Won

in 2022 for The Last Queen

• South Asian Literary Association Distinguished Author Award: Won in

2007

• Allen Ginsberg Poetry Prize: Won in 1994.

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Abstract:

The novel Oleander girl follows Karobi Roy, a young woman from

Kolkata who has been raised in a strict and traditional Indian household by her

conservative grandparents after the death of her parents. As she prepares to

marry Rajat, a wealthy businessman, a shocking revelation about her family’s

past sends her on a journey to America in search of the truth about her origins.

Throughout her journey, Karobi faces cultural clashes, personal

dilemmas, and the challenge of reconciling her Indian identity with the

realities of the Western world. Her quest for self-discovery forces her to

navigate love, independence, and family secrets. Meanwhile, back in Kolkata,

her fiancé and family deal with their own crises, revealing themes of class

conflict, tradition versus modernity, and the complexities of love.

The novel explores themes of identity, resilience, and transformation,

as Karobi evolves from an obedient, sheltered girl into a strong, independent

woman. With its rich storytelling, Oleander girl presents a compelling

narrative of self-discovery and the pursuit of truth.

Oleander girl is about Karobi Roy, a 17-year-old girl who lost her

mother at birth. She was raised by her grandparents, Bimal Roy and Sarojini,

after that. Bimal Roy, a retired barrister of high social standing, is a powerful

individual. His wife, Sarojini, is also from a well-to-do family. They have a

rich cultural and historical heritage and are respected in their community. Anu

is their only child. Throughout her childhood, Karobi Roy yearned for the

affection of her parents.

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Karobi's inspiration and guide into the unknown is Anu, whom she had

never seen or met before. Anu inspires Karobi to embark on adventures that

she could never have imagined in her sheltered boarding school education.

Karobi was raised by her grandparents in their town, giving her a way of life

as a grandkid of the Bimal Roy family. She has been given consideration and

never allowed herself to get some information about her folks. She finds a sort

of murkiness in her brain and feels total detachment in her life. There is a

quietness that drives her life, whether they are alive or not. The main proof of

her folks is the letter that Karobi gets from her mom's book.

The demise of her grandfather, Bimal Roy, during her commitment to

Rajat totally dispersed her life into pieces. Sarojini feels scared about the

passing of her husband. Sarojini opens with the reality of Karobi’s folks

saying her mom Anu kicked the bucket and her dad is an Afro-American

named Rob, who is as yet alive in America. Consequently, Karobi has made a

solid choice to go to America, keeping her marriage and looking for her dad.

Her energy and interest in thinking about her dad drive her in her search. Huge

numbers of pundit’s acclaim Karobi’s choice at the most youthful age all by

herself.

At first, Rajat doesn't need her to go alone. In the wake of

understanding her solid and decided self-discipline, Rajat is prepared to help

in her search. Mrs. Bose advises holding the wedding as soon as possible, but

Karobi prefers to consult with her father first. She denies it, but she realizes

Rajat is a wonderful person and that if she marries him, she will have a

wonderful life. She has a women activist decided psyche. That is the reason

she has chosen to look through her dad first.

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Karobi remains steadfast in her decision, despite his explanation that

he is less bothered by the past and more interested in the present and future

and that his love for her will never end. It is mentioned in the book as, “Rajat,

you don’t understand! I don’t want it to fade away. I’m shocked and hurt, yes,

but I’m excited, too. Do you see? I have a father now! I can’t meet the man

my mother loved so much! All my life I longed to understand my parents.

Now fate has given me a chance” (67).

Karobi has discovered a heartfelt, never-sent letter from her mother to

her father. Karobi sets out on her own search for her father as a result.

Regardless of every other person's recommendation, Karobi chooses to look

for her dad, and with her assurance, she tracks down her dad, and alongside

him, reality with regards to her folks. Her parents never got married, and her

father is an Afro-American. She is shocked, but she quickly regains her

composure. She makes the decision to tell her in-laws the truth about her birth.

But before she can tell her in-laws, they discover the truth. Her honesty is

questioned by them. She returns to her residence and devotes herself entirely

to household and academic tasks. Karobi is accepted by her in-laws and fiancé

as soon as they learn the truth.

Karobi is not discouraged by the lack of funds. She travels with little

money and stays with Mitra, who is unfriendly. She has no fear; she has

responded to the circumstances as they arise. She has made it a priority to

learn the truth about her father; she has travelled such a long distance from her

own people. She decides to sell her hair to fund her search when she runs out

of money. She has altered her point of view. She acts in accordance with her

quest and thinks like an immigrant. At the point when she really wants cash,
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she chooses to sell her hair. She feels more liberated and confident as a result

of the hair loss.

Oleander girl is a story about a simple girl who discovers who she is as

she seeks the truth about her life. It's about a person's fundamental beliefs and

values that guide their actions in difficult situations. They propel, inspire, and

maintain a person's progress. When Karobi is at a crossroads in her life, her

actions are determined by her education and core values. She is aware that her

future is in jeopardy, but she is unwilling to give up her morals for happiness.

She is unafraid to take a stand on her own, despite the counsel of Sarojini and

Rajat's coercion.

Karobi encounters numerous challenges on her journey to locate her

father. She has encountered the harsh real world. She is in control and only

cares about finding her father. When she is confronted with challenging

circumstances, she exhibits a confidence and inner strength. She initially finds

it difficult because her grandparents have always protected her, but she regains

her composure and moves on. Karobi's power is neither western nor current,

yet her capacity fixes her status in her family and at home. Karobi is

determined despite having little to pursue. Desai gives her three leads: one in

Boston and two in California involving people with the name Rob, who were

in the same class as her mother at the University of Berkeley.

Chapter II
 17

The Quest for Identity in Chitra Banarjee Divakaruni’s

Oleander girl

In this novel, the quest for identity refers to the protagonist Karobi's

journey to understand who she truly is both in terms of her family background

and her personal sense of self. The novel explores how identity is shaped by

heritage, culture, personal choices, and self-perception. The novel is a coming-

of-age literary fiction. A coming-of-age novel is a story that follows a

character's journey from childhood to adulthood. When Karobi embarks on a

journey to America to uncover the truth about her biological father. Her

personal quest reflects the larger theme of self-discovery, where she must

navigate between tradition and modernity to understand who she truly is .

Oleander girl demonstrates the protagonist taking the risk of moving to

a foreign land in search of an identity for herself and for solving a family

secret. A young girl, the grand daughter from a reputed and respected family is

seen brooding over her family secrets. The secrets were considered to be

shameful and bring disrepute to the family and so where consequently hidden

by the grand parents from their granddaughter, the protagonist. Karobi’s

identity is entangled with the reputation of her family and she finds herself

worthless when she discovers her true identity of being the daughter of an

American-African man. It is a great shock for Karobi when she learns her

father had not died in an accident but it was a story fabricated by her

grandfather to keep him away from meeting his daughter.

Karobi's family has hidden the truth about her parentage, which serves

as a major conflict in the novel. Karobi is brought up by her grandparents,

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Bimal Roy and Sarojini, who are culturally rich, socially well-placed, and

highly reputed family. She is sheltered and overprotected by her adoring

grandparents, who refuse to speak or discuss anything about Karobi's parents.

She is haunted by the silence that surrounds her parent’s death. Her only

inheritance from them is the love note found in her mother's book of poetry.

As she had never heard anything about her parents, when she read the letter

written by her mother to her father, she was happy and wished that somebody

might find a love like theirs.

The novel revolves around the protagonist Karobi’s quest for identity

and her struggle with identity cross countered and assimilating herself totally

inacceptable social conditions here in India and America. She is tattered

between the cultures of East and West. She has to balance between the theses

of both cultures assimilating herself in a given space.

Another character of this novel is Rajat. Her fiancé serves as both a

source of support and a catalyst for her transformation when Karobi decided to

embark on her journey to America. Bimal Roy, her grandfather, insisted that

Sarojini not tell anything about Anu (Karobi's mom) to Karobi; otherwise, he

would take Sarojini away. As Anu's husband was an American, he wouldn't

like Anu to live there, and she refused to come to India as well. But after six

months she had written a letter that she was expecting a baby. He pressured

her to live in India, and due to that pressure, she died during her delivery to

Karobi. When Karobi learns this from her grandmother after Bimal Roy's

demise, her quest has been increased to search for her identity.

Karobi who is conscious about her own identity since the beginning,

realizes and experiences all the emotions of anger, protest, sorrow, distress and
 19

disgust. The answer to her real identity lies across the ocean, the United States

where her mother Anu had spent a few years as a student, kept live-in

relationship with Rob Lacey an Afro-American, racially a Black and given

birth to Karobi, raising an issue of illegitimacy. It was very difficult task for

Karobi to find out her father in a foreign land having his photograph and

knowing only first name i.e. Rob. Despite knowing the hard journey, Karobi

decides to give up all comforts and even ready to sacrifice her love in order to

find her identity. Though with hope of getting something better, chooses to

walk in path of hardship and challenge and assimilate into the foreign land.

Karobi has been shown to be conscious about herself. She’s been loved

immensely and being adorable darling of grandparents, she muses her mother

and meaning of her own self and her name given by her mother. Karobi in

confusion asks her father the question that has plagued her all in life – why she

has been named Karobi on poisonous flower, which is hardly popular. She gets

to know that Anu, her mother wanted to have the qualities of the Oleander –

the beautiful, yet tough enough to protect itself from predators. Divakaruni

writes, “did my mother ever tell you why she wanted to name me Karobi?”

because the oleander was beautiful – but also tough. It knew how to protect

itself from predators. Anu wanted that toughness for you because she didn’t

have enough of it herself” (253).

Karobi presents rudimentary, orthodox, patriarchal and conservative

attitudes in a way of Bimal Roy to whom the docile granddaughter Karobi

can’t offer to hurt or disobey and her love for him makes accept his decisions,

though a bit grudging sometimes. But Karobi is an amalgamation of

contradictory docile but confident at the same time.

 20

Karobi's identity is entangled with the reputation of the family and the

good old family name. She finds herself worthless when she knows the true

identity of her father and her racial inferiority considered by Indians, being the

daughter of an African American man, because she enjoyed and admired her

status of being the granddaughter of Roy and also being the fiancée of the

most desired and the richest man of the town. She is taken aback when she

discovers the secret of her family about her father, who is not an Indian but an

Afro-American.

It is a great shock for Karobi to learn from her grandmother Sarojini

that her father was not an Indian, a foreigner, not a lawyer, and that he did not

die in a car accident. Anu, her mother, was in love with him during her stay in

America when she had been there for higher studies on a scholarship. Anu

wanted to marry that man who also loved her dearly but did not get the

permission from her father, Bimal Roy. Anu had to come back in hope of

getting her father’s consent, but she was already carrying Karobi then.

Though she tried all possible ways of convincing her rigid,

conservative father, it was all futile. In a rage of arguments, she slipped from

the staircase and started bleeding. That is how she died in the hospital giving

birth to Karobi. It was a severe heartbreak for Bimal Roy and Sarojini losing

their only loving child in front of their eyes, and the only light of hope for

them to survive was the newborn baby, Karobi, whom they would not lose at

any cost and who was the only one to tie Anu with them. Bimal Roy took a

promise from Sarojini in their temple not to reveal these facts to anyone, not

even to Karobi as she grows, or to leave him for good, which again reveals the
 21

patriarchal attitude and strong desire of cultural and traditional clutch in Bimal

Prasad Roy's psyche.

The whole story revolves around Karobi's quest for identity and her

struggle to fix her identity in totally unacceptable social conditions. Her skin

colour is believed to be from the Roy’s, but the colour of her hair still confuses

her. She is torn between the Indianness and the westernness. She has to

balance between the goodness of both cultures and should choose the right one

for her. Therefore, Karobi, who is conscious about her own identity since the

beginning, realizes that it is difficult for her to begin a new life with Rajat and

also not judicious until she finds out the true identity of her fragmented self.

She experienced all the emotions of anger, sorrow, distress and disgust.

However, at the same time, she has got little hope of exploring her own

identity, which won't be deceptive anymore. The answer to her real identity

lies across the ocean, in the United States, where her mother had spent a few

years as a student. She doesn’t take the advice of Sarojini not to reveal

anything to Rajat, to forget everything, and to begin a new life. If she does, it

would be the continuation of the same deception against the loyal love of her

parents, one of whom is still alive now with the knowledge that his daughter is

no more. So Karobi talks to Rajat about how eager she is to know about her

own father, and therefore she happily takes the challenge to explore in foreign

lands. In spite of knowing the hardship on the way, Karobi reluctantly shows

her consciousness of self, and she decides to give up all her comfort and even

to sacrifice her love in order to find her identity. Like all other migrants,

Karobi too turns away from luxuries and an easy life and chooses to walk in
 22

the path of hardship and challenge, though with hope of getting something

better.

It has also been tough for Rajat to leave Karobi as she decided to go to

America to search for identity. Divakaruni writes, “I love you, Karobi. Don't

abandon me and go to America!” I want to Say okay. I want it so badly, I can

barely breathe, but I can't. If I do, I know I would never feel complete in his

arms or anywhere else. I have too many unanswered questions to just let this

go” (85).

Though it has been noted that Karobi does feel enlightened and soon

get tuned to the American way of life; she walks with the remembrances of

promises and family values of India, but when required, she is seen to adjust,

assimilate, and accept the American way of living. Her journey to find her

father makes her plunge all the unwanted burdens she used to carry as part of

her personality of being completely Indian.

Her attitude is neither western nor modern, but it is her ability to fix

her status in her family and at home. With the same consciousness of being

independent and self-aware, she proves that she alone has the right over her

body and her identity. When she needed money, she decided to sell her hair.

She decides to sell it because she feels that she has the ultimate right to her

body and herself. The decision to sell her hair makes her more liberated and

confident.

Karobi sells her hair to fund her journey to California in search of her

father, reflecting her determination and resilience “I feel light-headed,

untethered. But once the money is in my hand, I’m somewhat consoled. I now
 23

have enough for California; I have done it without having to beg anyone”

(177).

Nevertheless, she confronts hard times in America being alone without

her real identity; the very first adversity she faces is at Kennedy airport, where

she was longing to get Mitra, who was supposed to pick her up from the

airport. She is alone with none but Mitra to receive her; her spirited self turns

into a perceptive one. When she doesn’t find Mitra at the airport for nearly

half an hour, she becomes anxious in that foreign land detached from her

familiar people and terrain. In spite of facing hardship, she is determined, and

then after she has her very first encounter with the difference between

Indianness and Americanized culture when she finds Mitra illbeing impolite

by not paying taxi fare, though he might have his financial constraints due to

the struggle for survival.

When she finds herself in an unfamiliar and challenging situation as

Karobi left India to search for the truth about her father. Unlike the sheltered

life she had in Kolkata, she now faces a new reality where she must navigate a

foreign land independently. The comforts of her privileged upbringing and the

cultural norms she was raised with no longer serve her in this environment.

She realizes that, like many immigrants, she has to focus on survival rather

than maintaining the traditional courtesies and values she was taught in India.

And this is mentioned as “Already I’m losing my Indian courtesies; I’m

thinking in terms of survival, like an immigrant” (94).

Karobi's experience of migration in search of her own identity presents

her in-between potential of Diaspora. No one forces Karobi to leave India;

neither her external environment nor her marital reason. It was due to her own
 24

quest and to quench the thrust of her identity that she dislocates herself from

India and Rajat, at least till she finds her own self. And therefore she, like all

women characters of the author, becomes a synonym of endurance, strength,

and determination. She was taken aback; her earth slid from her feet when she

met her father, and when she came to know that her mother and father had

never gotten married. It was a question of being her illegitimate, which made

her feel suffocating.

In this novel, Karobi's fear and shock of being illegitimate is purely

based on stereotyped Indian culture in which such illegitimacy is completely

looked down upon. Karobi, like any other migrant, faces her own struggles.

Firstly, from Mitra, who seems to be spying on her. He does not even

cooperate to provide her with a cell phone. However, she meets one young

man, Vic, at Desai's office, who is his nephew and works as a part-time

assistant who extends all his support. Desai shortlists three names on the basis

of his findings. Rob Evanston, an architect; Rob Mariner, an estate lawyer in

San Francisco; and Rob Davis, a writer, in the Santacruz club. She meets all

three and discovers to her disappointment that they are not related to her. In

fact, one of them tries to physically abuse her, and one thinks that she is out

there for some kind of money.

These experiences shatter her, and she is about to give up when she

receives a call from a lady named Meera Anand, who admits to knowing her

mother, Anu Roy, and having stayed with her. It is from the photo that she

recognizes Anu, which Desai had given in print. Karobi encounters numerous

challenges on her journey to locate her father. She has encountered the harsh

real world. She is in control and only cares about finding her father. When she
 25

is confronted with challenging circumstances, she exhibits a confidence and

inner strength. She initially finds it difficult because her grandparents have

always protected her, but she regains her composure and moves on. Karobi's

power is neither western nor current, yet her capacity fixes her status in her

family and at home.

Karobi is determined despite having little to pursue. She has given

three leads: one in Boston and two in California involving people with the

name Rob, who were in the same class as her mother at the University of

Berkeley. She doesn't surrender when he is shy of cash in New York.

Karobi is not discouraged by the lack of funds. She travels with little

money and stays with Mitra, who is unfriendly. She has no fear; she has

responded to the circumstances as they arise. She has made it a priority to

learn the truth about her father; she has travelled such a long distance from her

own people. She decides to sell her hair to fund her search when she runs out

of money. She has altered her point of view. She acts in accordance with her

quest and thinks like an immigrant.

The novel is about a simple girl who discovers who she is as she seeks

the truth about her life. It's about a person's fundamental beliefs and values

that guide their actions in difficult situations. They propel, inspire, and

maintain a person's progress. When Karobi is at a crossroads in her life, her

actions are determined by her education and core values. She is aware that her

future is in jeopardy, but she is unwilling to give up her morals for happiness.

She is unafraid to take a stand on her own, despite the counsel of Sarojini and

Rajat's coercion.
 26

The author skilfully describes Karobi's bold decision to travel to

America all by herself as she is eager to know about her alterity. She doesn’t

roll back her decision when Rajat does not favour this idea of her American

visit. Karobi's courage to inform Rajat's mother, Mrs. Bose, startles the

readers. After hearing the truth about Karabi's parentage, Mrs. Bose suggests

that the marriage should be conducted at the earliest. Karobi wants to follow

her heart and refuses to heed the pressure of Mrs. Bose. When Karobi declares

assertively that she will travel to America to find her father, Mrs. Bose is taken

aback. Mrs. Bose's explanation about the negative consequences of Karobi's

truth revelation to her family fails to change the feminist mind of Karobi.

Mrs. Bose's apprehension that if people come to know about her mixed

heritage and that she may not even be a Hindu, their family’s reputation will

be at stake, bothers her momentarily. Mrs. Bose's fear that Mr. Bhattacharya, a

politician who upholds Hindu traditions and who is willing to extend his

financial assistance to their family, which is facing severe financial crisis due

to business loss in America, may withdraw his support puts Karobi in a

dilemma. She is caught between her secured life as a daughter-in-law of the

Bose family and as a daughter of Anu Roy and Rob.

She decides to play the role of her daughter and fulfil her dead

mother's desire that she should go in search of her father. She thinks to herself,

it would be cowardly, for the sake of security, to relinquish this chance to find

and know the man my mother loved so deeply that she couldn’t give him up

though it tore her heart in two. It would be a betrayal of myself to go through

life pretending to be what I am not. For Karobi it is more important to discover

 27

her alterity than embracing her identity as the daughter-in-law of the Bose

family.

Divakaruni ‘s The Oleander Girl is a thought-provoking novel about

identity. The story entangles women from three generations – Karobi the

youngest, Karobi’s mother Anu and Karobi’s grandmother Sarojini. Each

generation has some inimitable womanhood experience to share. Among the

three Sarojini, the meekest of all spends her life in India and obeying her

husband. Anu and Karobi are strong enough to go to America to pursue their

dreams, knowing that their visit would be a cause of displeasure for the people

around them. In writing about South Asian women’s struggles, thrashings, and

triumphs both in India and in the United States, Divakaruni demonstrates her

mental fortitude as a writer who is eager to address troublesome issues through

her novels. Through the institution of marriage, Divakaruni wants to convey

that her women are circumscribed by traditions that define their identities. In

order to break the rules, they offer to a resistance to the patriarchal society and

domination within the family. The societal restrictions allow them to construct

an identity and a room for themselves where they can voice their difference

and articulate their desire.

As a true feminist, she places her priorities above the demands of the

patriarchal expectations of the society. Divakaruni depicts the picture of a

class-based society, the influence of the politicians on the businesspeople

lives, and the way the marriage alliances are looked at in a powerful manner.

She brings out the feminist aspect of Karobi poignantly. A young girl who is

an orphan, who has lost her protective grandfather, who has the support of
 28

none other than her own courage, stands by her decision of searching for her

father.

She is neither afraid of breaking her engagement nor worried about the

comments of people. She just wants to follow her heart. She boldly declares

knowing very well that it will have serious repercussions, and antagonizing

Mrs. Bose will lead to problems between her and Rajat, the man whom she

loves dearly. Divakaruni writes, “But neither do I want trouble for you. I

understand how much of a problem for you my heritage has become..." “If it is

so important for your business, I’m willing to release Rajat from the

engagement” (79). Karobi says this line in Oleander girl when she realizes

that her heritage-being the daughter of an interracial relationship-has become a

problem for Rajat’s family and their business. This moment is crucial in the

novel's overarching theme of search for identity because it highlights the

internal conflict, she faces between her love for Rajat and her growing

understanding of her own self-worth and origins.

With mixed feelings and her grandmother's blessings and with great

confidence, Karobi embarks on a journey to New York in search of her father.

Karobi's journey is no ordinary journey. During her stay in America, she

experiences diasporic identity. She lives the life of an immigrant woman,

though for a short while. She faces an identity crisis at many times. It proves

to be a cross-cultural journey that gives her a transcultural exposure. She gets

to experience the cultures of the East and West. She visits America at a time

when people are still recovering from the devastating twin tower attack.

Divakaruni deftly writes about the unrest and distrust in the country and the

way life has become a nightmare of thousands of immigrants.

 29

Divakaruni delineates the challenges faced by Karobi as an immigrant

poignantly. On the way to Mr. Desai, the detective's office, a native man tries

to attack her by pushing a rusted metal cart piled with plastic bags. It reflects

the resistance of native people to accept immigrants after the twin tower blast.

The courageous Karobi yells with a loud clap asking him to go away and to

stop harassing her. She is slowly acquiring the survival skills of an immigrant

to sustain her search in New York. The author unfolds a series of troubles

Karobi has to go through and empowers her with the courage and

determination to fight against all the odds so that she can find her father and

thereby discover her alterity.

Karobi's life as an immigrant woman takes a different turn as she tries

to adjust to American ways of living. After an unsuccessful trip to Boston,

Karobi has to travel to California in search of her father. When she realizes she

doesn’t have enough funds for her travel, Mr. Desai suggests that she can

approach Rajat for money. But she is determined not to ask for any money

from Rajat.

Divakaruni gives a strong voice to Karobi when she writes, “I’ll get the

moneyy, I say with jaunty rashness, though I have no idea how. I know this

much, though: I'm not going to ask Rajat (172). She sells her thick and black

hair to raise money for her California trip. Seema, with whom she stays in

New York, is quite surprised by her action and inquires of Karobi if her

grandmother knows about her haircut and if she had the permission of her in-

laws. Karobi, who has taken complete control of her life, says, “It’s my hair”.

Divakaruni presents the character Karobi as an independent and assertive

 30

woman who takes decisions based on the needs and requirements of her life in

America.

Karobi has transformed into a confident woman who thinks and feels

she needs no one's approval to cut her hair. Here again we see Karobi's

feminine sensibility. She exhibits her autonomy in her life. Divakaruni

harmoniously weaves the story of Seema, who gets inspired by the feminist

mindset of Karobi. Her courage and determination influence Seema also to cut

her hair and sell her jewellery so as to go back to India, to her mother’s place,

for her delivery. She doesn’t want to stay with Mitra, who isn’t much

concerned about his wife. Karobi gets to understand the life and uncertainties

of an immigrant woman through Seema's story. The small, overcrowded

apartment of the Mitras, where Karobi has to stay, is a sad reminder of how an

aspiring immigrant's dreams are crushed.

Divakaruni narrates how Seema walks out of her wedded life, refusing

to suffer in silence facing the tyranny of her husband. As a young immigrant

woman, she is disillusioned by her life in America. The twin tower disaster has

disturbed her life beyond repair, leading to marital discord, prompting her to

go back to her roots. This aspect of the novel again impresses the reader as a

feminist narrative. The changing identity of Karobi motivates Seema to shift

her identity from a devoted wife to a dedicated mother who doesn’t trust her

husband’s care in the crucial stage of her life. She prefers to be with her

mother so that she can deliver the child safely and take care of the baby.

These subplots are so enthralling that they add to the magic of the

story. Divakaruni convincingly projects Karobi's process of acculturation and

her sense of hybrid identity. She is quite comfortable in the company of Vic,
 31

Mr. Desai’s nephew though he is a stranger to her. She changes her dressing

sense according to the expected norms of America and wears Seema's Prada

suit when she goes to meet people who, according to Mr. Desai, could be her

father. Karobi was brought up in a conservative manner by her grandparents.

In India, as a young woman, she would not have travelled with a stranger. But

in America, she does not hesitate to do so because of her changing outlook and

acculturation.

The author elaborates on the difficult task of Karobi's search for her

father. hurts her that she has to tell lies after lies so as to meet men with Rob as

their name. But that doesn’t deter her from continuing her search. She also

faces an attempt of physical assault from one of the persons she meets. Karobi

is totally distraught due to this unpleasant incident. She wants to put an end to

her search and go back home. She draws strength from Vic, who consoles her

and speaks words that soothe her. Trying to find her alterity, she goes through

a terrible phase in her life.

Vic's appreciative words that she has acted bravely and she deserves to

be proud of herself hold a mirror to her feminine sensibility and true identity.

Vic is fascinated by the ways Karobi handles her life. Her feminist ways

charm him. Divakaruni brings in a twist in the story through Vic's confession

of his love and admiration for Karobi. He offers her a job and says she can

stay with him in California. She can earn her own money. This sudden

proposal tempts Karobi. Her assimilation of American culture and the thought

of financially empowered women who can earn their own money prompt her

to think about the opportunity. As an immigrant woman, she feels she can get a

new identity in America. Life with Vic will definitely be interesting.

 32

Caught in the whirlpool of cultural clashes between freedom in

America and conservative lifestyles in India, she is in a total dilemma. There

is a clash of identities within herself. To make a choice between life in

India/America, life with Rajat/Vic seems to be a tough one for her. Vic tells

her to take time, think, and tell the answer. Karobi comes to know about her

mother’s student life in the USA and that her father is an African. American

through her mother’s friend Meera Anand. Divakaruni elucidates the impact of

this revelation on Karobi. When she shares this with her grandma, she says

when she looks at herself in the mirror, she sees her skin, hair…everything

differently. Her new identity is that she is half Black.

Her alterity is she is the daughter of Rob Lacey, an African-American

father. During her meeting with her actual father, Karobi learns about his life

with Anu, her mother. She comes to know another bitter, unacceptable truth

about her life: that her mother and father were never married, that she was

born out of wedlock. Karobi is unable to digest this fact. She feels extremely

shameful about herself. Her father tells Karobi that Anu had promised Bimal

Roy that she will never marry against her father’s wish. To keep up her

promise made to her father, she didn’t agree to marriage despite his repeated

requests. Karobi is disillusioned about her otherness, her alterity

During her journey of search, she was attracted by Vic, who is the only

one who understands her and supports her. It has been seen that Karobi had the

choice to stay back in America, and she also loves the place for all its

fascinations. “I’ll have to make my new decision: Vic or Rajat, America or

India”. Divakaruni (187). It can be seen how hard it is for Karobi, the newly

found facts about her identity, and it paves a way to a different aspect of the
 33

existence of life. On one hand, she had been broken by the heartbreaking

reality, but at the same time, she also dared to stand in fetching the true

identity of her fragmented self. In the course of her search for identity in the

foreign land, the truth she faces is hard for her to believe.

Values of India, faithfulness for a would-be husband, and many other

feelings about being Indian bring back Karobi in India. She returns to India as

a better person who knows what is right for her, who knows how to resist

temptations. At the end, Karobi experiences conversion by the circumstances,

and she does succeed in getting back her love, freeing herself from the web of

identity crisis, being truly the beautiful oleander that her mother wanted her to

be.

Karobi is shaken by the truth, she thinks that maybe even her marriage

could get affected after they come to know that she is an illegitimate child.

Still, she decides to go to India and tell each one the truth. Karobi’s decision to

travel back shows her toughness. She, though physically leaving a land of

possibilities, carries with her the independent streak and comes back much

more confident, determined to fight back with challenges.

The novel has touched on the topic of class, caste, race, distinction,

identity crisis, space assimilation, and she seems to be advocating the need for

cross-cultural acceptance. Both the Roy and the Bosse are shocked to hear

Karobi’s father is Black. Divakaruni describes the way Karobi deals with her

life with her new identity after her return to India. The Bose family’s

unacceptance of her new identity as an illegitimate child does not disturb her.

She decides to pursue her studies. Her grandmother is amazed by the

 34

transformation of Karobi. Her transcultural experience has made her an

empowered woman.

Karobi gets frequent calls from her father and Vic inviting her to

America, but she has made up her mind to stay in her own country. Karobi

says, “I can’t deny that America’s siren song had pulled at me. But I came

back of my own choice. Surely that counts for something” (280). The novel

describes Karobi's character in a sensible way. She states, “While in America,

with many temptations around her, Karobi manages not to succumb to them,

but she does understand her contradictory self-better”. Karobi is too strong a

woman to heed the temptations. She is crystal clear about her mission in

America, which is to discover her alterity and not to settle there. Here she

proves to be different from her mother, Anu, and resists her temptations. Over

a period of time, the families reconcile and patch up. Rajat and Karobi's

wedding ceremony gets organized well.

The truth that Karobi wasn’t trying to deceive the Bose family; in fact,

her visit has helped the Bose family to know about the actual status of their art

gallery in New York, makes the family realize the courage and conviction of

Karobi. Karobi is able to accept her alterity, her otherness as the daughter of

mixed blood, mixed race, as a child born out of wedlock. Her good nature and

her passionate love for Rajat make Bose's family too accept her identity as

Karobi, the granddaughter of Bimal Roy, and her alterity as the daughter of an

African-American father. Thus, Divakaruni ends the novel on a happy note.

It can be seen how hard it is for Karobi to learn the newly found facts

about her identity, and it paves a way to a different aspect of the existence of

life. On one hand she had been broken with the heartbreaking reality, but at the
 35

same time she also dared to stand in fetching the true identity of her

fragmented self. In the course of her search for identity in the foreign land, the

truth she faces is hard for her to believe.

At the end, Karobi experiences conversion by the circumstances, and

she does succeed in getting back her love, freeing herself from the web of

identity crisis, being truly the beautiful oleander that her mother wanted her to

be. She realizes that one's own sense of identity is far greater than all social

and cultural dogmas; she achieves a sense of fulfilment. This can be the reason

why Karobi didn’t break down when she was deserted by Rajat, and she

returned his engagement rings with dignity. Though she accepts him at the end

as she senses freedom in her heart, without the burden of identity. With

Dilemma, social pressures She reads out a poem written by her mother at the

end as,

“He who binds to himself a Joy

Doth the winged life destroy;

But he who kisses the Joy as it flies

Lives in Eternity ‘s sunrise” (288).

Chapter III
 36

Conclusion

Identity is one of the most common themes in South Asian Literature,

and in many cases the search for self-identity is portrayed as confusing,

painful, and only occasionally rewarding. Women writing in South Asia write

with a sense of attempting to make their individual voices heard over a

cacophony of long-standing stereotypes and expectations, diasporic women’s

writing has different characteristics. Women of diaspora, instead almost

always, without exception; testify to a sense of dual or multiple identities.

When Karobi decides to uncover the mystery around her birth and

parentage, she realizes that it will be an arduous task that might unearth some

harsh and unpalatable facts. However, both she and her grandmother finally

realize that she will remain only half the person she is unless she gains an

insight into her roots, and thus the journey has to be undertaken at any cost.

On another level, the journey inwards also involves reconciling to the hidden,

latent, or even darker aspects of our own personality.

In her experience in the USA, for the first time in her life, Karobi feels

truly independent. From learning to navigate her ways around the city to

protect herself from the evil machinations of her adversaries to inspiring other

women immigrants by her bravery and resourcefulness, Karobi achieves a lot

more than what she set out to obtain. The beginning, however, is quite

daunting for her as she is forced to reside in an extremely hostile environment,

with limited financial resources, apart from experiencing the challenging

identity crisis that is commonly faced by most diasporic.

 37

Oleander Girl, the protagonist Karobi Roy experiences both pleasant

and painful moments on her journey to America to find her father. From her

childhood, her grandparents satisfied her needs, but she longs for the parent

love especially her mother’s. She would have lacked a companion with whom

she can share her distress and her bittersweet moments. So, when she is

grown up, she decides to go to her father. That journey gives her both bitter

and sweet experiences. Oleander girl examines the issue of a woman’s quest

for identity, struggle for existence, and the woman’s transformation in the new

world order and the emergence of a new woman.

It deals with the experiences of a woman protagonist Karobi who

suffered and came out of hurdles with her identity at the end of the novel. In

Oleander Girl, the protagonist, Karobi Roy takes the risk of leaving

everything and moving to an unknown land in search of her identity and

family secret. There she discovers a mystery about herself and her family. Her

discovery shatters her sense of self and takes her out of her sheltered Kolkata

life into a search. There comes a time when one has to choose between turning

the page and closing the book. Now it’s time for turning the page in Karobi’s

life, which means this is the right time for Karobi to find her father. She uses

this opportunity and decides to go without getting the permission of anyone

and once she has decided, she informs everyone about her plan to fly America.

She feels happy and excited to see her father. An unexamined life is not worth

living. She wants her life to be a worthy one. Even after knowing that her

father is alive somewhere if she does not take any steps to find him, she is not

worthy enough to worry about her father and his love. But her journey is not a

happy one, she has faced many difficulties on her way to meet him. She
 38

encounters the company of strangers, across America, a country which she

finds at once dangerous, unwelcoming, and alluring, Karobi is conscious of

herself.

When Karobi learns that her mother wants her to go beyond the ocean,

she prepares herself to go though she does not know the real reason behind it.

After the appearance of her mother’s ghost, she started thinking about the

ocean and she is curious to know what is there. Some question is always there

in her mind about her mother’s pointing on the ocean. She wants to fly high

but she knows very well that her grandfather will not allow her to go

anywhere.

Divakaruni technically portrays the mindset of a typical Indian

traditional girl, how she feels, and how much she longs to see her parents.

Loss of her parents is not an issue. But she was betrayed by her grandfather

and she gets angry towards him for not revealing the truth. He wants his

granddaughter to be with him always. He never thinks about the child’s future

or the lacking of parent love if he decided the child in the position of a father,

his mind did never allow him to take such a decision to separate a child from

its father. His decision of separating the child shows that he is selfish. He

never cares about anything. That only made Karobi travel abroad in her

teenage without the help of anyone to give proper guidance.

Chitra Banarje Divakaruni portrays her own experience of migration in

most of her works. Her Novels project Indian experiences, contemporary

 39

American life style, history, myth, and the challenges of living in a

multicultural world.

In this novel, Banarjee clearly depicts how Indian society plays a role

in creating an identity of a person and further putting her in a situation where

she faces her own identity crisis. She successfully displays Indian society

which witnesses Indianness in her writing. In addition to this, an identity crisis

is experienced by Karobi, due to patriarchal society and migration to other

lands. Karobi has passed through different stages to achieve in her own way a

sense of fulfilment. Here it is tried to analyse the elements of struggle for

existence and identity crisis in the selected novel. Therefore, it can be

recapitulated that Chitra Banerjee Divakaruni has very well knitted the theme

of search for identity and struggle for existence of Karobi in this novel. Which

comes out of her own Diaspora experience.

In this novel through Karobi, Divakaruni conveys the message that the

most important thing in life is to live with the truth, and in order to attain this

truth, one must be brave enough to face life's challenges. Instead of giving up

hope in the face of unmanageable circumstances, one should find the strength

to turn things around. Karobi has been portrayed by Divakaruni as an image of

today's youth.

In any case, it would appear that the discussion is not the means but

rather the end. Evidently, these verbal outbursts do not result in any actions.

They just surrender in despair over what they can't endure. They are aware of

everything; they know that things are wrong, but they don't care because they

don't do anything, and they don't feel guilty or bad for not doing anything.

Being vocal about some unacceptable things isn't sufficient. We must take
 40

action to bring about the necessary change right now. The characters in

Divakaruni have the fortitude to leave their ideal life for the greater good in

search of the truth.

From a feminist perspective, the protagonist Karobi, who travelled to

America as a young girl in search of her father, is the focus of the narrative.

She was incredibly excited and persistent in her hunt for her father. Because of

her background and culture in America, she was able to overlook all of her

physical assaults and temptations in favour of concentrating on a single lesion

that eventually led her to her father. a powerful woman. Chitra Banerjee

Divakaruni portrays Karobi, Anu, Sarojini, Seema, and Ms. Bose as all being

extremely strong women. Both Indian and American cultures have an impact

on it. Karobi has a feeling of family identity thanks to her Indian origin. After

learning about America, she becomes more self-assured and prepared to take

on difficulties.

The novel mainly focuses on the feministic perspective of the

protagonist Karobi’s journey to America at a young age to search for her

father. Her strong enthusiasm with determination has motivated her to search

for her father. Though she faces physical assault and temptations, she kept all

aside, focusing her only vision. As a result, she finds her father. The American

life and its culture make her a strong woman. The portrayal of Karobi,

Sarojini, Seema, and Ms. Bose are strong women by Chitra Banerjee

Divakaruni. The Indian and American cultures both influenced her a lot.

Karobi inherits the sense of belonging of her family from Indian tradition. She

gets the empowerment and is ready to face the challenges that she learns from

America. Therefore, she could find her identity.

 41

Karobi experiences an identity crisis due to the patriarchal society and

her mother’s migration to another land. She goes through different stages to

achieve, in her own way, a sense of fulfilment. The novel revolves around the

theme of identity crisis, which Karobi suffers from due to the cultural mindset

of Indian society that does not accept inter-religious marriage.

Chitra Banerjee Divakaruni has skilfully woven the theme of identity

crisis in Oleander girl. Migration, immigration, travel, and exile offer

possibilities for assimilation. They largely provide opportunities for growth

and cross-cultural dialogues, leading to both alienation and assimilation. The

diaspora experiences various forms of displacement, but their inner

consciousness enables them to adjust, accommodate, and even adapt.

Karobi evolves in the course of the novel and matures as a woman of

substance. The others, like Mrs. Bose, the sophisticated wife of the rich

entrepreneur, and Sarojini, the traditional matron, break the types into which

they seem to fall at first glance. Notably, the character of Asif, the Bose’s’ car

driver, is endearing in its poignancy. As the name suggests, the oleander

flower could protect itself from predators, the main character protects herself

from all the challenges she faces. Thus, the journeys that Tilo and Karobi

undertake by crossing cultural boundaries help them to redefine themselves.

The author proves through these transcultural novels, that the amalgam of

diverse cultures leads to a creative process that bring up new cultural values.

Both the protagonist has coalesced the Indian and American values and

enriched their identities while retaining their Indian sensibility.

Oleander girl is a quest of a young Bengali woman and her journey to

find her identity. The story involves women from three generations- Karobi
 42

the youngest, Karobi’s mother Anu, and Karobi’s grandmother, Sarojini. Each

generation has some unique womanhood experience to share. There is a

constant clash between Karobi’s traditional upbringing and her longing to

belong in Rajat’s modern family.

Her struggle to balance the two brings tension to both her family and

Rajat’s family. This eventually forces her to choose between security and the

discovery of herself. Divakaruni focuses not only the conflict between Indian

identity and transnational location but also the conflict between individual

desire and social norms. Her novel, Oleander girl is a classic example of

feminine identity and the question of women freedom. Divakaruni does offer

empowerment to women of diaspora on various levels, including solidarity

with other women and acknowledgment of the supportive, healing role women

often play (individually and communally).

On the other hand, Divakaruni also challenges traditional gender-bias

expectations of South Asian men. This indicates she is questioning multiple

assumptions based on gender, not just those that affect women. Ultimately and

perhaps most powerfully, Divakaruni provides a multi-layered site upon which

the strength of women is highlighted. Not only do strong female characters in

Divakaruni’s novel come to a point of independent, autonomous success but

they also serve as support systems for the men in her novels. This emphasis on

the resolution of factorization by diasporic South Asian women provides a

scenario in which they can be successful as women, as Indians, as Americans,

as individuals, and as members of their new community.

The novelist's unambiguous and earnest attempts at fostering the

positive aspects of Indian culture are ostensible in her protagonist's reverence

 43

for elders and her wonderful ability at getting, forgiving, and moving on. At

the same time, Divakaruni articulates the need for change in traditional looks

and beliefs in certain dogmas that may jeopardize relationships. This novel

ends on an affirmative note that works in overt and covert ways to bring about

flexibility in an existing order.

Banerjee’s works delineates the modern Indian woman’s liberation

from the male eccentric society. Her feminist approach enlightens and

promotes the growth of woman. Karobi has advanced from the other

characters of the novel. She symbolizes the independent woman not by her

birth but by her deeds. The gap between culture and modernity results into

very painful experiences. Anu and Karobi, both were innocent in their journey,

but Anu could not liberate from the tangles of life whereas Karobi’s journey

made her mature. The important character of the novel Portrays the family

traditions and individual liberty. Chitra Banerjee’s novels project the domestic

sphere where she naturally presents the Indian women characters.

Generation gap is the most eminent problems in her novel. The

disconnection between first generation and second generation cause dramatic

changes in the lives of Chitra Banerjee’s heroine. The relationship of Bimal

Prasad Roy and Sarojini denotes first generation and Karobi and Rajat denotes

the second-generation relationship. Anu, who is the symbol of first generation,

could not stand against her father for her future’s sake. She is not able to

convince her father for her love towards Rob Lacey whereas, Karobi does

think about the society for her journey. Rajat was unable to stop her journey.

Love was not the weak point for Karobi. She gave priority to solve her own

fickle mindedness before thinking about anyone.

 44

Oleander girl delves into themes of multiculturalism, family secrets,

and the clash between tradition and modernity. The novel highlights the

challenges of living in a multicultural world and explores the impact of family

secrets on personal and cultural identity.

Chithra Banerjee Divakaruni writes from diverse character

viewpoints, including both male and female voices. Chithra Banerjee

Divakaruni conveys the idea that a girl can be fierce and beautiful in her novel

Oleander girl. Her mother gave her the name Karobi, which was a

representation of the toughness she desired in a daughter. When Karobi asks

her father in the book whether he knows why she was given that name. Her

mother once told her, “Girls have to be toughened so they can survive a world

that presses harder on women,” he responds. When the time came, she wanted

her daughter to be able to bravely live life on her own. She was aware that

oleander is both toxic and attractive. Karobi begins her search for her father in

a hasty manner due to her youth, but as a result of the changing and

rearranging of locations and their experiences throughout time, she matures.

She comes to the realization that one cannot separate oneself from the

communities to which one is born and raised. Even yet, she also broadens her

understanding of how connections with other locations alter our perceptions of

reality. Chitra Banerjee Divakaruni conveys the idea that a girl can be fierce

and beautiful. Her mother gave her the name Karobi, which was a

representation of the toughness she desired in a daughter.

Chitra Banerjee Divakaruni’s Oleander Girl intricately weaves the

theme of the quest for identity through the journey of its protagonist, Karobi.

Initially raised under the constraints of tradition and secrecy, Karobi embarks
 45

on a journey that challenges her perceptions of self, family, and belonging.

Her pursuit of truth rooted in her desire to uncover her parentage becomes

symbolic of a deeper search for personal and cultural identity.

As she navigates the unfamiliar landscapes of America and confronts

the hidden realities of her past, Karobi evolves from an uncertain young

woman into a resilient individual who embraces both her heritage and her

independence. Her experiences highlight the struggles of identity formation,

particularly for individuals caught between multiple cultures.

 46

Works Cited

Divakaruni, Chitra Banerjee. Oleander girl. Penguin Random House

India,2013.

Hossain, MD Tashkir. "Search for Identity in Oleander Girl by Chitra

Banerjee Divakaruni." Journal of Emerging Technologies and

Innovative Research, vol. 10, no. 4, Apr. 2023.

www.jetir.org

Karutudayan, R. Subash. "Search for Identity in Oleander girl by Chitra

Banerjee Divakaruni." IOSR Journal of Humanities and Social

Science, vol. 24, no.1 2019.

https://www.iosrjournals.org

Mookherjee, Aparupa. "Moving Beyond the Confines: A Reading of

Divakaruni's Oleander girl." European Academic Research, vol.

4, no. 1, Apr. 2016.

https://euacademic.org

Venkata Lakshmi, K., and G. Chenna Reddy. "Search for Identity and

Struggle for Existence in Chitra Banerjee Divakaruni's Oleander

girl." International Journal of Research in Advent Technology,

vol. 5, no. 4, Apr. 2017.

www.ijrat.org