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The well in which the cow drowns is the site of a traumatic memory shared by the two sisters and is referenced throughout the novel. It is a dark and claustrophobic space that represents both literal and figurative death—the place where the mother cow died, leaving behind a calf that starved to death for lack of its mother’s milk. For the girls, the calf’s abandonment symbolizes their own—as their parents were often too ill or too busy to care for them. When the girls accidentally wander into the forbidden part of the garden, they are horrified, imagining the bones that were left behind from the rotting corpse even though there is no longer anything to see. The well waits for them at the bottom of the garden, “bottomless and black and stinking” (121).
For Aunt Mira, the well represents the depth of her alcohol addiction, and it beckons her in her nightmarish dreams, in which her white widow’s sari becomes a straightjacket holding her captive, “swaddled and bound” while the children feed on her body (93). She crawled to the edge of the well and “whimpered for that drink” (93) which awaited her at the bottom. The alcohol was simultaneously the release from her imprisonment and ultimately the cause of her death. The image of death in the well haunts Bim too, for night after night she dreams of her aunt’s body floating in the water like that of Ophelia (103). Yet Ophelia had died by suicide, and suicide was viewed as the ultimate sin:
The well then contained death as it once had contained merely water, frogs
and harmless floating things. The horror of that death by drowning lived in the area behind the carvanda hedge like a mad relation, a family scandal or a hereditary illness waiting to re-emerge. It was a blot, a black and stinking blot (111).
Clothing symbolizes the performance of gender, with all the expectations and restrictions it implies. While Aunt Mira and the teenage Tara wear saris to symbolize their femininity, as children the girls dress in the dresses worn by girls in Britain and by bourgeois and Westernized Indian families of the time. Both styles of dress are designed for modesty and inhibit the wearer’s movement. Bim does not realize the profound significance of clothing in categorizing and limiting female identity until she and Tara dress up in their brother’s trousers. Wearing these trousers causes Bim to have an epiphany—that this clothing gives boys and men a confidence of movement and a sense of independence she has never experienced. Bim notes that: “[g]reat possibilities unexpectedly opened up now they had their legs covered so sensibly and practically and no longer needed to worry about what lay bare beneath ballooning frocks and what was so imperfectly concealed by them” (135).
This recognition is a watershed moment in Bim’s life, as she realizes that, more than anything else, she wants to claim that independence for herself. Just as Tara wants to escape the stifling environment of her home and family, Bim wants to escape the expectation that she will marry and depend on a man for her survival. Tara thinks of her sister as having become trapped in the past, but Bim has escaped another kind of trap by becoming a teacher and earning her own living.
Baba’s gramophone, which originally belonged to Benazir, the wealthy daughter of Hyder Ali, symbolizes his unheard voice and persona, which remains firmly that of a child. He cannot speak, but he does communicate with the world through the music that he plays endlessly throughout the day. While this music has become a familiar background to Bim’s daily life, Tara and Bakul are annoyed by it, finding it part of the chaos of life in the Das family home. Like the gramophone itself, the records were rescued from the Ali family home after the Alis fled the persecution of Muslims that followed the Partition. As a result, Baba is stuck playing the same decades-old songs again and again—another symbol of being trapped in the past. These songs date from a lost era of British colonial rule, but that time is gone, and what remains of it has begun to decay or fall apart. Broken records can no longer be replaced, and when Bim damages the needle, the silence that fills the air disturbs Baba, who depends on the music to soothe him. Baba is unable to change or grow, and like the house and those who live in it, he will continue to play the same tune over and over until it breaks or decays into oblivion. Bim, who has remained in the family home along with Baba, risks the same fate unless she is willing to make the necessary changes to repair her relationships with her family.
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By Anita Desai
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