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Gailrie Lamb

Symbolism in Clothes In Clothes Chitra Banerjee Divakaruni depicts a story of a young women self-transformation from a role as a daughter in India culture to the role as wife/daughter in law in American Culture. As the story begins, Sumita seems to be filled with mixed emotions in her anticipation of marrying a man she barely knows, however, she honors her parents wishes, as it is their custom__ a custom in which it is the norm for women all over India to conform to the tradition of arranged marriages. Despite this tradition, the narrator imagery descriptions of her clothes throughout the story suggest a young woman constrained by tradition yet on an evolution to self worth. And through the storys compelling symbolism, readers get a better reading of Sumita dynamic character. From the start the saris themselves can be deciphered as illustration of the bondage that the character endure in which she must conform to cultural injustice. Although Sumita feel that, her culture framework of marriage is unfair, she quickly warms to the idea as she describes her bride- viewing sari: Its body was a pale pink, like the dawn sky over the womens lake. The color of transition. Embroidered all over it were tiny stars made out of real gold zari thread. The sari was unexpectedly heavy in my

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hands, silk-slippery, sari to walk carefully in. A sari that could change ones life. I stood there holding it, wanting to weep. (267). As Sumita see her saris as the color of transition, we can see how her character starts to succumb to the path of tradition. And although not explicitly applied the narrator description of the fabric could be a symbolism of cultural injusticeonly girls with light skin or perhaps family with money are good enough to be chosen as ones wife (or wife-in-law). In pursing this further, Divakaruni subtle emphasis on the word zari, could suggest that Sumita family are well-off, however, a closer reading could also suggest that Sumita character is also dark skin. Yet, she dazzles her way into a marriage of possibilities, in which she transforms into the ideology of American Society. The characters self- transformation can be seen through her descriptions of Americans clothes. Clearly, readers can see how the characters new self- worth starts to take form when she compares herself to American models as she model her new earthly possessions in private, I model each one for himleft hip thrust out just like the models on TV [as we stuff] towel[s] at the bottom of the door (269),she begins to feel westernized (270). Sumita enjoys the feelings of her American clothes as she contrast this feeling: Im wearing a pair of jeans now, marveling at the curves of my hips and thighs, which have always been hidden under the flowing lines of

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my saris. I love the color, the same pale blue as the nayantara flowers that grow in my parents garden. The solid comforting weight.(269) The effect of the narrators language at this point represents binary opposition. For example, she describes how a pair of jeans marvel and arcs to her silhouette however; the saris do just the opposite. Additionally, the description of the weight represent character break from burdens of culture tradition as she feel like the saris are heavy. As she describes, I love the color, the same pale blue,(269) It can be read as the color of opportunity, as Sumita sees opportunity as the ideology of America culture. In readers, see how Sumita belief comes to light when she describes the last line, In the mirror a woman hold my gaze, her eyes apprehensive yet steady .She wear a blouse and skirt the color of almonds. (272) This final line symbolizes Sumita dynamic transformation to self-worth. In spite of the death of her husband, she refuses to be a, dove with cut-off-wings, (273).

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