WESTERN DOMINATION IN JHUMPA LAHIRI’S SHORT STORIES SEXY, THIS BLESSED HOUSE, AND WHEN MR. PIRZADA CAME TO DINE (1999) A THESIS Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for The Strata One Degree (S1) REZA ROWI MUHADDAST 1112026000086 ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY JAKARTA 2017
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WESTERN DOMINATION IN JHUMPA LAHIRI’S SHORT STORIES
SEXY, THIS BLESSED HOUSE, AND WHEN MR. PIRZADA CAME TO
DINE (1999)
A THESIS
Submitted to Letters and Humanities Faculty
In Partial Fulfillment of the Requirements for
The Strata One Degree (S1)
REZA ROWI MUHADDAST
1112026000086
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY
JAKARTA
2017
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ABSTRACT
Reza Rowi Muhaddast, Western Domination in Jhumpa Lahiri’s Short Stories
Sexy, This Blessed House,and When Mr. Pirzada Came to Dine (1999). A Thesis :
English Letters Department, Adab and Humanities Faculty. State Islamic
University Syarif Hidayatullah Jakarta, 2016.
The study of this research focuses on Western domination that is appeared
in several elements of fiction in these three short stories. The narration and dialog
are always express Western strength and Eastern weakness. The writer uses
qualitative descriptive method and analyzes these short stories by reading,
understanding, and identifying.
This research uses the theory of Elements of fiction from Robert DiYanni
and Orientalism from Edward W. Said that explain the way West represent East.
As the superior one, in these stories West is always described positively and East
is always be its opposite.
The goal of the study is to prove the domination of Western strength in
several elements of fiction in these short stories. As the superior one, West always
expresses its strength by giving the imaginative creation and also setting aside
East through the narration and dialogue.
Keywords: Short Story, Elements of Fiction, Post-colonialism, Orientalism,
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by another
person nor material which to a substantial extent has been accepted for the award of any
other degree or diploma of the university or other institute of higher learning, except
where due acknowledgement has been made in the text.
Jakarta, April 1th 2017
Reza Rowi Muhaddast
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ACKNOWLEDGMENT
In the name of Allah, the Most Gracious, the Most Merciful
The writer would like to thank Allah SWT, the Most Gracious and Most
Merciful for all the favor to complete this thesis. Many salutation and benediction
to the Greatest Prophet Muhammad SAW for his efforts to bring the light of
humanism and peace.
The writer would like to deliver his deepest thankful to his beloved parents
that have supported, prayed, and motivated him, H. Sopian Hadi and Nia Karnia.
The writer also would like to thank to his beloved one, Gadis Shella Mutia who
always be writer’s unlimited supporting woman to complete his degree. Then to
the English Letters and Department Faculty of Adab and Humanities, Syarif
Hidayatullah State Islamic University that becomes an important place and always
missed by the writer.
A lot of words are also addressed to his advisor Pita Merdeka, MA, for her
time, guidance, kindness, story and motivation to finish this paper. The special
thanks is also dedicated to :
1. Prof. Dr. Sukron Kamil, M. Ag., the Dean of Faculty of Adab and
Humanities State Islamic University Syarif Hidayatullah Jakarta.
2. Drs. Saefudin, M. Pd., the Head of English Letters Department.
3. Elve Oktafiani, M. Hum., the Secretary of English Letters Department.
4. The Lecturers and the Staffs of Faculty of Adab and Humanities.
5. All staffs of Adab and Library Center of UIN.
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6. The Genggong and Rusa Besi family : Abrar, Acha, Adit, Aliffaiz, Fajar,
Zaki, Lutfi, and others. Big thanks for all the joy through good and bad
that have been spent together and for filling my day with knowledge and
fun.
7. The big Family of Literature Class and the C Class 2012. That is always
be missed by the writer.
8. For those the writer cannot mention the name directly and indirectly
helping the writer in finishing the thesis. Hopefully, this work will be
useful for those who are interested in it. May Allah bless us, Aamiin.
Jakarta, April 2017
The Writer
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TABLE OF CONTENTS
ABSTRACT ........................................................................................................... i
APPROVEMENT ................................................................................................. ii
LEGALIZATION ................................................................................................ iii
DECLARATION ................................................................................................. iv
ACKNOWLEDGEMENT .................................................................................... v
TABLE OF CONTENT ..................................................................................... vii
CHAPTER I INTRODUCTION
A. Background of Study ...................................................... 1
B. Focus of The Study ......................................................... 6
C. Research Question ........................................................... 6
D. Significance of The Study ............................................... 6
E. Research Methodology .................................................... 6
1. The Method of Research ...................................... 6
2. The Objective of Research ................................... 7
3. The Techniques of Research ................................ 7
4. The Instrument of Research ................................. 7
5. Unit of Analysis ................................................... 8
6. Place and Time of Research ................................. 8
CHAPTER II THEORITICAL FRAMEWORK
A. Previous Research ......................................................... 10
B. Elements of Fiction ....................................................... 12
1. Plot ..................................................................... 12
2. Character and Characterization .......................... 13
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3. Setting ................................................................ 14
4. Point of View ..................................................... 14
5. Language and Style ............................................ 15
6. Theme ................................................................ 16
7. Irony and Symbol ............................................... 16
C. Post-colonial .................................................................. 17
D. Orientalism .................................................................... 18
CHAPTER III RESEARCH FINDING
A. Orientalism Analysis .................................................... 23
1. Sexy .................................................................... 23
2. This Blessed House ............................................ 34
3. When Mr. Pirzada Came to Dine ....................... 43
CHAPTER IV CONCLUSION AND SUGGESTION
A. Conclusion .................................................................... 50
B. Suggestion ..................................................................... 51
BIBLIOGRAPHY ............................................................................................... 52
APPENDIX .......................................................................................................... 54
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CHAPTER I
INTRODUCTON
A. Background of the Study
Culture is main thing that constructs a nation, and it also has important
roles for human life since long time ago. There are some different definitions
about culture and it also has a different perception if culture is defined by using
ages. According to Intercultural Communication, in the 19th
century, the term of
culture is commonly used as a synonym for Western civilization (6). Then,
today’s definitions of cultures are not synonymous with countries and do not
respect political boundaries (Strauss 1). However Edward Tylor gives a different
explanation about culture using his perception and he suggests that culture is a
complex whole which includes knowledge, belief, art, morals, law, custom, and
any other capabilities and habits acquired by man as a member of society (1).
Then, according to Marvin Harris, culture is whole aspect of human life in society
by the process of learning consist of mind and attitude on it (5). Although, there
are several perceptions to define culture, but in a big line culture is an important
thing that construct a human life ages by ages.
In the age of civilization, literature has a dominant role to create a central
of culture by using words. This relation has a huge effect to other knowledge
because of the dominant role of literature itself. Then, literature becomes more
massive because of its relation to culture and also directly guide the world of
words to the educational side. For example, literary works are product of
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educational learning. This means the author needs to learn literature before
through direct or indirect learning (Ratna 448, 456). By the time literature
becomes knowledge, the entire world learns it and also produces a lot of literary
works based on their background of culture that has important role to their works.
As a study of culture, relation between literature and culture is very
massive in some studies. According to Nyoman Kutha, literature and culture have
same object, it is human in society, human as a social fact, human as cultural
creature (Ratna 448, 456). Based on the function, literary activity and cultural
activity have a function for human to reach a higher life. The difference between
them is their character each other. Literature does those activities indirectly,
through metaphoric language, and culture does those activities directly (Ratna
448, 456).
West especially, has a big contribution and moreover it dominates the
entire world. There are a lot of aspects of human life that constructed by West
such as ideology, style, language, and etc. Perceive the Western domination,
Edward W. Said argues that for them (Colonizer) domination of orientalism is a
positive thing (Lary 5). Western culture maintains and constructs the world since
the age of Greek Mythology or other story like how Christopher Columbus sails
the ocean and find one of powerful country called United State of America in any
literary works. This kind of domination builds some different perceptions
especially for the country that has been colonized since a long time ago. To make
the argument stronger, Said in his book believes that orientalism is an object of
attack for the colonized (Lary 5).
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In the history of literature, short story can be analyzed by using intrinsic
and extrinsic elements. Short stories always compared with novel because of the
elements on both of them are still same. Nowadays, as literary works, short stories
just like stories to be read not to be analyzed deeply by students. Short stories
always have different theme and that makes short stories are more interesting and
challenging to be analyzed. But there always be some issues that can be analyzed
by using not only the intrinsic elements of short stories, but also extrinsic
elements then apply the analysis with the theories that suit to the issues.
Interpreter of Maladies is one of Jhumpa Lahiri’s works that has been
awarded a Pulitzer Prize and becomes best seller book in 1999. This book is
published in 1999 by Houghton Mifflin Harcourt Publishing Company, New
York. But in this research, there are three short stories to be analyzed entitled
Sexy, This Blessed House, and When Mr. Pirzada Came to Dine.
In Sexy, a story from Jhumpa Lahiri, there are lots of aspects of culture
that appears and describes with two main characters that have different culture
each other. Miranda, a main character in this story described as an American
single woman who has a secret affair with Dev. As an American woman, Miranda
never thinks about status of marriage that Dev has before they begin their
relationship. Dev is an Indian man, and he is described as a man with an Eastern
culture as his identity, because he is a pure Indian and born in Bengali, a place in
India. West dominates this story by using Miranda as a main character who has an
important side of telling and observing East from Dev and Laxmi, Indian
immigrant. In this story, there are some differences perception between West and
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East about a secret affair from a marriage couple and meaning of the word
“Sexy”.
The second short story entitled This Blessed House. This story takes place
in America. The story tells about a new marriage couple from India who moves to
their new house and finds a lots of Christian’s stuffs on their house. As a root of
Western culture religion also has an important play to dominate one aspect (Roots
of Western Culture). In this case, This Blessed House draws a story whose expose
the superiority of West by using Christian’s stuff in a house of Hindus couple.
Sanjeev and Twinkle are main character in this story. Twinkle is described as a
woman who loves all of the Christian’s stuffs that she finds in her house. But as a
good Hindus and Twinkle’s husband, Sanjeev refuses to collect those things and
asks his wife to throw them all. Until the day come, when they have a house
warming party, some of Sanjeev’s friends ask about the Christian’s stuffs in the
mantel. Christian’s stuffs become a complicated conflict and dominate the story.
Then, Twinkle always praises all those Christian’s stuffs since the day she finds
them in their new house.
The last short story to be analyzed is When Mr. Pirzada Came to Dine. A
Story those talks about child’s perceptions about East through Mr. Pirzada, a
Muslim from Pakistan. Lilia is a main character in this story. She is a ten years old
girl, who gives some perceptions about East by defining Mr. Pirzada’s habits. Mr.
Pirzada is her father’s friend who always comes to her house and watches news
about the condition of Pakistan. Lilia’s parents are India and Mr. Pirzada is a
Pakistani. They are united by the same culture from their hometown. Like the last
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two stories, there are a lot of Western aspects that is appeared in this story by
using setting of America (Western world) and a represent Pakistan (Eastern
world) as a city that full of chaos in this story. Not only uses the setting, but also
Western domination is represented by a main character in this story who gives her
perception about Mr. Pirzada, and other perception about a better living in the
Western world than in the Eastern world.
In Jhumpa Lahiri’s short stories, a post-colonial issue appears when West
dominates them. The writer believes that orientalism is one of theory that suites
with this case. There are also some parts of how West represents East in these
stories. Based on Edward W. Said reason who said that:
This orientalism covered the study of everything not Western in tradition,
i.e., it went beyond Asia. Its practitioners were learned Western men, often
steeped in the cultures they studied, but also steeped in the unquestioning
acceptance of the superiority of the West. In other words, they belonged to
a world of colonialism and imperialism in which they were on the
dominant side. For them, orientalism was a positive thing; for Said it was
an object of attack (Lary 5).
Said argues that for them (colonizer) orientalism was a positive thing. But
actually, it was an object of attack (40). It also appears in these three short stories
from Jhumpa Lahiri that become the unit of analysis in this research. There are
some descriptions about West that is described to be more dominant than East, it
always appears with better description to construct the story and also created to be
more interesting than India (East) in the story.
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B. Focus of the study
Based on the background of study, this research will focus on how West
dominates and constructs several elements of fiction in these short stories. Then,
the writer will relate the aspect with orientalism theory that suit to analyze West
and East relation in literary works from Edward W. Said.
C. Research Question
Based on the issue in the background of the study, the writer will analyze
Western aspects that appeared in these three short stories by using orientalism
theory by Edward Said, and the question:
How does West dominate and construct these three short stories?
D. Significance of the Study
Interpreter of Maladies is an anthology of short story from Indian-
American writer Jhumpa Lahiri. These three short stories that have been taken by
the writer can be categorized as a literary works, so hopefully the application of
orientalism theory by Edward W. Said can give some explanations or perspective
that clear enough about Western domination in Jhumpa Lahri’s short stories.
E. Research Methodology
1. The Method of Research
This research will be using qualitative and descriptive analysis to give
specific data, which appropriate to the issue. A qualitative research will utilize
explanation and then give a brief description. In a literary research, it will be
involved the writer, social environment of the writer, and cultural issues in general
(Ratna 46, 48). A descriptive analysis is done by giving a brief descriptions all of
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facts that have been collected before, then the writer will analyze them (Ratna 53).
But at first, writer will collect data from books, journals, articles and go to library
or find other references from internet. Then, the writer will analyze the data with
the approach above, and the last of this research is concluding the result.
2. The Objective of Research
The objectives of this research are Western domination that constructs
these three short stories. Then, analyze them with orientalism theory by Edward
W. Said that suitable with this case.
3. The Techniques of Data Analysis
These three short stories are the main source in this research. Another
sources come from the data that has been collected before. The writer will learn
and sorting which compatible to be implemented to the Western domination that
described in these short stories as the research object. Then the last, the writer
writes the analysis and concluded it in the last step.
4. The Instrument of the Research
The writer himself is as the instrument of the research in this study. The
writer will firstly analyze the Elements of Fiction by using Robert DiYanni’s
theory. Later on, the writer will consider the dialogue and narration that lead to
the domination of West in these three short stories, then interpret and analyze
those evidences using Orientalism theory by Edward W. Said.
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5. Unit of Analysis
The unit of analysis for this research is three short stories titled Sexy, This
Blessed House, and When Mr. Pirzada Came to Dine that written by India-
American writer Jhumpa Lahiri. These short stories were published to be an
anthology of short stories entitled Interpreter of Maladies by Houghton Mifflin
Harcourt Publishing Company in 1999.
6. Time and place
This research analysis conducted in the faculty of Letter and Humanities,
Syarif Hidayatullah State Islamic University of Jakarta. And this research held in
the academic year 2016.
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CHAPTER 2
THEORITICAL FRAMEWORK
Based on the research question that has been written in the first chapter,
this research will focus on Western domination in Jhumpa Lahiri’s short stories
from her book entitled Interpreter of Maladies. There are three short stories to be
analyzed, Sexy, This Blessed House, and When Mr. Pirzada Came to Dine. These
three short stories have a similar issue each other. West dominates these stories
through several elements of fiction.
In this chapter, the writer will explain a brief instruction from the elements
of fiction, theory, concept and some arguments that the writer uses to analyze and
answer the research question; How does West dominate and construct these three
short stories?. The writer uses Edward W. Said’s concept about orientalism to see
how deep the problem of Western domination in these short stories. Those theory
and concept will be supported with cultural studies and history about West and
East that writer has collected to make this analysis stronger.
Before explaining the theory, the writer observes and identifies about
Western aspect that is appeared and dominates the elements of fiction in these
stories. Then, the writer believes that orientalism can be used to analyze these
stories. According to orientalism subject by Edward W. Said that examines how
these texts construct the Orient through imaginative representations (in for
instance novels), through seemingly factual descriptions (in journalistic reports
and travel writing), and through claims to knowledge about Oriental history and
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culture (histories, anthropological writings, and so on) (203). The way West sees
East in orientalism subject, builds some facts about the way West represents East
as an inferior side in this case.
A. Previous Research
Interpreter of Maladies is one of anthology from Indian-American writer,
Jhumpa Lahiri that published by Houghton MifflinHarcourt Publishing Company
in 1999. This book contains nine short stories. Some of the stories have been
analyzed before, but in this research the writer takes three short stories to be
analyzed using orientalism concept by Edward W. Said. They are titled Sexy, This
Blessed House and When Mr. Pirzada Came to Dine. As a work that has been
awarded a Pulitzer Prize and becomes best seller book in 1999, those make some
of stories have been analyzed not only by using the elements of fiction, but also to
be analyzed using extrinsic theory that suitable with the issue.
Actually, from these three short stories, Sexy and When Mr. Pirzada Came
to Dine has been analyzed by Tommie Adrienne Sears as a thesis, using
racialization and the formation of identity concept. Sexy also has been analyzed by
using feminism perspective, but for This Blessed House, there are not any papers
or websites that have analyzed the story deeply by using theory to see some issues
on it. Jhumpa Lahiri puts lots of issues on her story to be analyzed with different
theory or concept, especially the cultural issues between West and East in her
story. Jhumpa Lahiri puts her own characteristics that come from her background
of culture as an Indian-American writer.
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As a study of culture, orientalism has been used to analyzing literary
works. There are three researchers that use orientalism to analyze movie and
novel. The first research entitled Orientalism Analysis of The Main Character in
The Film “The Dictator” written by Fuad Amar Romadhon in 2014 at State
Islamic University Syarif Hidayatullah Jakarta. The second research is A
Dominance and Superiority of The West in The Film “The Last Samurai” written
by Aidah Nurhayati in 2013 at Islamic State of University Syarif Hidayatullah
Jakarta. The last research that uses orientalism discourse is written by Navita Al
Annisa in 2013 titled West and East in Veil of Roses Novel by Laura Fitzgerald.
Fuad Amar Romadhon keeps focus to the main character of this movie
named Aladeen who lead the fiction country called Wadia State in the Middle
East. The main character is described as a regime leader as prominent east cruel,
stupid and childish. But slowly he changes into a better person that supports all of
Western culture aspects that described by another character in this movie,
especially his girlfriend.
The second previous research that using orientalism as a discourse to
analyze the story is from Aidah Nurhayati. In this research she analyzes a movie
titled The Last Samurai. She focuses on the relationship of domination analysis
that shows West which operates in the film. This film portrays the relation
between East and West that described by the man character Nathan Algren as
West character and other characters that described as Japanese samurai as East
characters.
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In the last previous research from Navita Al Annisa, she analyzes a novel
by Laura Fitzgerald entitled Veil of Roses. This research focuses on main
character’s opinion in what she feels concerning the position of Iran as the East
towards America as the West. Then this research also focuses on how Iran as an
inferior is being described in the story.
Meanwhile, from these three previous researches, it can be well
understood that this study has not been analyzed by any researcher. It purposes to
examine these three short stories from Jhumpa Lahiri entitled Sexy, This Blessed
House, and When Mr. Pirzada Came to Dine by using Orientalism perspective
from Edward W. Said to analyze, understand, and give an explanation about how
does West dominate and construct these stories through several elements of fiction
that have been occurred and described in the text.
B. Elements of Fiction
There are several elements of fiction, according to Robert DiYanni, those
elements are divided into seven parts. In this part, explain those elements based on
notable resource that the writer has collected before.
1. Plot
Plot is a main thing that builds a story from the beginning to the end.
Robert Diyanni on his book believes that plot is the arrangement of events that
make up a story (43). Then he also believes that the typical of functional plot
begins with exposition that provides background of information to make sense of
the action, describe the setting, and also introduces the major characters. After the
exposition, plot also develops a series of complications or intensifications of the
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conflict that lead to a crisis or moment of great tension (DiYanni 44). In plot,
there is also conflict that will lead the story into climax or turning point, and after
that the action falls off as the plot’s complications are sorted out and resolved (the
resolution or denouement) (DiYanni 44). On his book, he also adds structure in
this first element of fiction. He notes that structure is a design or form of the
completed action (Diyanni 45). In analyzing plot, the reader concerns with
causality, with how leads into or ties with another. But in examining structure, the
readers have to keep focus to the patterns. The reader will be directed to the story
in motion by plot, and the structure to the story at rest. They are together reveal
aspect of the story’s artistic design (DiYanni 45).
2. Character and Characterization
The second important element of fiction is character, they built the story,
fill the plot and of course, character is very important to this research because,
most of the cultural issues in these research represented by those characters.
According to Robert DiYanni character in fiction can be conveniently classified as
major and minor, static and dynamic (54). As its name, a major character is
always described as important figures at the center of the story’s action or theme.
A major character sometimes called a protagonist whose conflict with antagonist
may sparks the story’s conflict (DiYanni 54). Meanwhile, a minor character has a
function to illuminate the major character. The minor characters are often static or
unchanging; they remain the same from the beginning of work to the end
(DiYanni 54). As an opposition with the static character, there is also a dynamic
character that will exhibit some kind of change of attitude, of purpose, of behavior
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as the story progress (DiYanni 54). After analyze the character, researcher will
focus to their characterization, Robert DiYanni believes that characterization is
the means by which writers present and reveal character (55). The method of
analyzing characterization is a narrative description with explicit judgment
(DiYanni 55). This method of analysis will need a strong evidence to help the
research.
3. Setting
The third element of fiction is setting. Setting will give this research a
brief explanation about where or when the story is began. That has an important
contribution to make the analysis deeper, especially makes the writer focus to the
case of West and East in this case. DiYanni examines that place or location of a
story’s action along with the time in which it occurs is its setting (60). James
Joyce and William Faulkner argue that setting is an essential to meaning.
Functioning as more than a simple backdrop for action, it provides a historical and
cultural context that enhances readers understanding of the characters (60).
4. Point of View
This is the fourth elements of fiction based on Robert DiYanni perceptions
is point of view. In fiction, an author always has a decision about who is to tell
and how the story is to be told. Diyanni believes that in a story with an objective
point of view, the writer shows what happens without directly stating more than
readers can infer from its action and dialogue (71). But in the other way, Dr.
Hallet believes that point of view is the perspective from which the events in the
story are observed and recounted (1). The point of view is classified as either first
15
person, third person, an omniscient narrator and a limited omniscient narrator. In
first person narration, the narrator becomes a participant in the action. Then the
third person narrator employs nonparticipant narrator, a voice of authority, which
never reveals its source and can usually move from place to other place to
describe action and report dialogue (The Elements Of Short Fiction 857-858). The
omniscient narrator means a narrator who knows everything about the characters,
even perhaps their future, and may reveal the thoughts of anyone in the story (The
Elements Of Short Fiction 857-858). The last is limited omniscient narrator or
usually called selective omniscient, the narrator will be limiting themselves to the
thoughts and perceptions of a single character (The Elements Of Short Fiction
857-858).
5. Language and Style
Language and style become the next element of fiction after point of view.
They have an important role to tell the story, and they will guide readers or
researchers to know about the way of writer chooses words and arranges them
determines on their style. DiYanni on his book suggests that style is the verbal
identity of writer, as unmistakable as his or her face or voice (79). DiYanni also
believe that style of writing will help the writer convey their distinctive ways of
seeing the world (79). In language and style, the discussion will focus to the
figurative language of literary works such as simile and metaphor (80).
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6. Theme
Theme becomes the element of fiction that also has an important role to
this research. Like a soul in human body, DiYanni point out that theme is an idea
or point (formulated as generalization) (85). He also adds that the theme of short
story is its implied view of life and conduct (85). The importance of theme make
it relates to the other elements of fiction more as a consequence than as parallel
that can be separately identified (DiYanni 85).
7. Irony and Symbol
The last elements of fiction are irony and symbol. According to Robert
DiYanni, actually irony is no so much element of fiction as a pervasive quality in
it (92). Irony will help the writer to see the meaning in the story that contains
cultural aspects that have been depicted in the story. Irony may appear in fiction in
three ways such as in a work’s language, in its incidents or its point of view (92).
A contrast or discrepancy between one thing and another will always be involved
by the irony. And the contrast may be between what is said and what is meant or
between what happens and what is expected to happen (DiYanni 92).
Symbol in fiction are simply objects, actions or events that convey
meaning. The meanings that symbol convey extends beyond their literal
significance, beyond their more obvious actual reason for being included in the
story (DiYanni 94). Actually, it is not easy to analyze symbol in fiction poetry or
drama. But as an element of fiction, it has an important role in the fiction itself.
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C. Post-colonial
Actually, there is no explanation about when post-colonial becomes a
theory. But, according to Nyoman Kutha Ratna it is about 17 until 20 century. It
begins with the imperialism era until ex-colonized reach their independent (Ratna
223). But Hans Bertens confirms that in the course of the 1980s Commonwealth
literary studies became part of the then emerging and now vast field of literary,
cultural, political, and historical enquiry that we call postcolonial studies (200).
Now a day, post-colonialism becomes important to be learned and has an aim to
encourage and develop the theory.
Post-Colonial Studies has undergone a meteoric rise in the past decade in
literature departments throughout the world. The aim of this series is to
open up various horizons in the field: to encourage the development of
postcolonial theory and practice in a wider spread of disciplinary
approaches; to promote conceptual innovation in the study of post-colonial
discourse in general; and to provide a venue for the entry of new
perspectives. (Waugh 350, 352)
Post-Colonial studies give different perspective to see the effect of
colonized and Western domination. Bill Ashcroft, Gareth Griffin, and Halen
Tiffin suggest that the idea of ‘post-colonial literary theory’ emerges from the
inability of European theory to deal adequately with the complexities and varied
cultural provenance of post-colonial writing (11). Post-colonial theory and
criticism radically questions the aggressively expansionist imperialism of the
colonizing powers and in particular the system of values that supported
imperialism and it sees as still dominant within the Western world (Bertens 200)
As a postmodern theory, post-colonialism also refuses binary opposition.
Binary opposition that is refused by post-colonialism is the differences between
18
West and East, Colonizer and Colonized, Stanger and Native (Ratna 223).
According to Elleke Boehmer who suggests that post-colonialism is thus name for
critical theoretical approach in literary and cultural studies, but it also, as
importantly, designates a politics of transformational resistance to unjust and
unequal forms of political and cultural authority which extends back across the
twentieth century, and beyond (340).
D. Orientalism
Orientalism is a theory that has been written by Edward W. Said who has a
big contribution to the post-colonial field. According to Hans Bertens, orientalism
is a devastating critique of how through the ages but particularly in the nineteenth
century. The heyday of imperialist expansion which book’s focus; Western texts
have represented East, and more specifically the Islamic Middle East (203).
Therefore, Said sets out to examine not only scholarly works but also works of
literature, political tracts, journalistic texts, travel books, religious and philological
studies (23). With his argument, Said examines how these texts construct the
orient through imaginative representations (in for instance novels), through
seemingly factual descriptions (in journalistic reports and travel writing), and
through claims to knowledge about Oriental history and culture (histories,
anthropological writings, and so on) (Bartens 203).
As one of literary analysis, Said also gives a direction to the literature and
criticism about orientalism, he examine that it offers a marvelous instance of the
interrelations between society, history, and textuality; moreover, the cultural role
played by the Orient in the West connects Orientalism with ideology, politics, and
19
the logic of power, matters of relevance to the literary community (39). Said also
divides several benefits based on readers. First, for the contemporary students of
Orient, Said hopes that orientalism can present their intellectual genealogy to
them in a way that has not been done, and to criticize with the hope of stirring
discussion the often unquestioned assumptions on which their work for the most
part depends (39).Next, for the general readers this study deals with matters that
always compel attention, all of them connected not only with Western conceptions
and treatments of the Other but also with the singularly important role played by
Western culture in what Vico called the world of nations (39). Last, for readers in
the so-called Third World, Said hopes that this book can illustrate the formidable
structure of cultural domination and, specifically for formerly colonized peoples,
the dangers and temptations of employing this structure upon themselves or upon
others (39).
Especially, the idea of orientalism convinced that racism is not only
psychological problems or individual pathology, but something that is constructed
by using cultural representation pattern through practices, discourse, and
subjectivity by Western society (Barker 198). Chris Barker argues that orientalism
is a set of power discourse based on Western vision that constructs the East in
Western hegemony (198). The domination that has been built by West is actually
a creation. Said assumes that Orient (East) is not merely there, just as the Occident
(West) itself is not just there either (21). As a dominant side, West always
represents East as an inferior side trough important things such like culture,
civilization, style and also knowledge.
20
This kind of domination that has been done by West only gives a good
effect to them, but not for the colonized (East). Diana Lary believes that, for
colonizer, orientalism is a positive thing, but for Said, it is an object of attack (5).
This domination has been done by West in the name of knowledge, but in the
practice West builds its superiority through language, culture, and also way of
thinking. Orientalism is a dissection of Euro-centrism which then justifies the
superiority of Europe (Western) and the inferior side as non-Europe (Eastern), it
also the way of ancient method to identify East as the inferior (Barry 224, 225).
Until in the end of domination that has been done makes a reflection about non
Western country (East). According to Nyoman Kutha Ratna who believes that in
orientalism, the colonized is described as inferior, irrational, can be controlled and
manipulated by the dominant side (240,241). Those kinds of stereotypes that have
been built by West since long time ago become so harmful for East, and in the
other way West makes a big difference to East with their own way.
Said defines orientalism into three, First, orientalism as a way of coming
to terms with the Orient that is based on the Orient's special place in European
Western experience (19). Second, Orientalism is a style of thought based upon an
ontological and epistemological distinction made between "the Orient" and (most
of the time) "the Occident" (20). Then the third, he also defines orientalism to be
more historically, Orientalism can be discussed and analyzed as the corporate
institution for dealing with the Orient—dealing with it by making statements
about it, authorizing views of it, describing it, by teaching it, settling it, ruling
over it (20). Then, it can be concluded that, orientalism can be seen as a Western
21
style for dominating, restructuring, and having authority over the Orient (20). But
in his analysis, Said also assumes that orientalism can be used to express a big
difference of West and East based on Western vision.
Orientalism can also express the strength of the West and the Orient's
weakness—as seen by the West. Such strength and such weakness are as
intrinsic to Orientalism as they are to any view that divides the world into
large general divisions, entities that coexist in a state of tension produced
by what is believed to be radical difference. (Said 56)
Actually, East (Orient) that is appeared in orientalism as an inferior side
comes from representation that had been built by West. According to Said who
believes that the system of representations framed by a whole set of forces that
brought the Orient into Western learning, Western consciousness, and later,
Western empire (188). In the other side, the system that has been built by West
makes a deep relation between West and East itself. In his book Said argues in his
analysis about K. M. Panikkar's classical work that the relationship between
Occident (West) and Orient (East) is a relationship of power, of domination, of
varying degrees of a complex hegemony (22).
For Said, however, the West’s representations of the East ultimately work
within the framework of a conscious and determined effort of subordination (204).
In other word, orientalism cannot work without the conscious determined itself.
This Western discourse about the orient has traditionally served hegemonic
purposes (Said 204). Said’s argument about the orient that is actually merely
imaginative and it has to be supported by some several things.
Yet none of this Orient is merely imaginative. The Orient is an integral
part of European material civilization and culture. Orientalism expresses
and represents that part culturally and even ideologically as a mode of
22
discourse with supporting institutions, vocabulary, scholarship, imagery,
doctrines, even colonial bureaucracies and colonial styles (Said 19).
Orientalism as a theory has traditionally served two purposes. It has
legitimized Western expansionism and imperialism in the eyes of Western
government and their electorates and it has insidiously worked to the ‘natives’ that
Western culture represented universal civilization (Bertens 402). Those two
purposes make West dominating the entire world and set aside East as the inferior.
According to Said, Western representations of the Orient, no matter how well
intentioned, have always been part of this damaging discourse (204). Western
power will appear complicity through wittingly or unwittingly. Then in other
words, the term colonization now has changed, not by taking the property of East
country or making war and does the canonic imperialism anymore. But it enters
the most of East by using thought, style, perception, culture, and also uses literary
works as a subject of colonialism or static imperialism in this modern era.
23
CHAPTER III
RESEARCH FINDING
In this chapter, the writer would like to analyze Western domination that
occurs in several elements of fiction that stated in these three short stories by
revealing the related data to explain the result of analysis. Those elements of
fiction are Plot, Character and Characterization, Setting, Point of View, Theme,
Irony and Symbol. In these short stories, India and Pakistan (East) become the
background of culture and identity for each major character. But in the other side,
as the setting, America also brings its contribution to dominate and constructs the
story. In Sexy and This Blessed House, India is represented as East (Orient) and
America as West (Occident), but in When Mr. Pirzada Came to Dine, the
difference is described by using the main character as an Indian-American girl
who tells a story about a man from Pakistan named Mr. Pirzada. India and
Pakistan are represented as the Orient (inferior) and America (superior) as the
Occident based on the description in the text.
A. Orientalism Analysis
1. Sexy
a. Plot
In Sexy, the story begins with a conversation between the main character
Miranda and Laxmi. They have a different background of culture, Miranda is an
American and Laxmi is an Indian. They are talking about Laxmi’s cousin that has
been left by her husband for another girl. The writer believes that this is the
24
exposition of the story, because this problem still has correlation to the story. It
can be seen that Western aspect enters and dominate trough the description about
East who are really imaginative by giving perception about Indian man (East) that
can easily love another woman just because he has sat next to her on a flight.
Then, in the other side, West is reflected through Miranda as an American woman
is described more civilized than Laxmi action on this problem.
“ITWASAWIFE’SWORSTNIGHTMARE. After years of marriage,
Laxmi told Miranda, her cousin’s husband had fallen in love with other
woman. He sat next to her on a plane, on a flight from Delhi to Montreal,
and instead of flying home to his wife and son. He got off with the woman
at Heathrow. He called his wife, and told her he’d had a conversation that
had changed his life, and that he needed time to figure things out” (Sexy
48)
The plot in the first story is go forward until it begins slower than before
when the story gives a flashback to the meeting of two major characters Miranda
and Dev at Filene’s. In this story the readers must focuses to the experience of
reading because of the moving plot. The writer believes that complications occur
when Miranda and Dev feel in love and decided to have a secret relation with Dev
because of his status that has not been a single man anymore. Day by days their
relationship becomes more special, there is no border between them, sharing bed
each other, have a vacation together becomes their routines activity after work.
Until the day Dev’s wife comes from India, Miranda should wait for Dev because
he has to pick up his wife. Miranda thinks that it is a usual moment for a mistress
like her, although she does not call herself a mistress. One thing that Miranda
thought is her happiness with Dev, a man that calls her sexy for the first time and
wants to do something romantic to her. Western aspect appears and be more
25
dominant in this part when the narration leads to the positive perception about
having a relationship with a marriage man. But in the exposition, it is clearly
described that this perception is totally wrong according to East, in this case
Laxmi’s statement.
“While Dev was at the airport, Miranda went to Filene’s Basement to buy
herself things she thought a mistress should have. She found a pair of
black high hells with buckles smaller than a baby’s teeth. She found a satin
slip with scalloped edges and a knee-length silk robe. Instead of
pantyhouse she normally wore to work, she found sheer stockings with a
seam. . . . (Sexy 52)
One by one complication comes and the climax begins when Laxmi asks
Miranda to take care of her cousin’ son named Rohin because she trust Miranda as
her close friend. Actually, Rohin is a smart boy, until his father goes for another
girl, he becomes a sad boy. He always pays attention to his parents when they are
quarrelling. Then he gets a word, the word is “Sexy” that word has a deep
meaning according to his mother and his cultural background (India). Rohin says
that word when he insists Miranda to wears her cocktail dress in front of him. At
that time, he admires Miranda very much.
“Rohin fastened the zipper to the top, and then Miranda stood up and
twirled. Rohin put down the almanac. “You’re sexy,” he declared”.
“What did you say?”
“You’re sexy.” (Sexy 59)
At first Miranda thinks that it means nothing, and she remembers that Dev
says the same word at the time they made sense. But deep in her heart, Miranda
wants to know the meaning of that word from Rohin clearly.
“Tell me something.”
“He was silent.”
“What does it mean?”
26
“. . . He cupped his hands around his mouth, and then he whispered, “It
mean loving someone you don’t know”. (Sexy 59)
Miranda finds herself shocked after Rohin says the meaning of the word,
then she remember how Dev says the same word to her. She feels so numb
because of those words. Then, Rohin talks about what he sees from his parents
quarrelling that makes his family broken now.
“Miranda felt Rohin’s words under the skin, the same way she’d felt
Dev’s. But instead of going hot she felt numb. It reminded her of the way
she’d felt at the Indian grocery, the moment she knew, without even
looking at a picture, that Madhuri Dixit, loves her instead of my mother.”
(Sexy 59)
And the last is the falling action of the story. It begins when Miranda
thinks that what she has done a mistake. She imagines the scene when Rohin’s
parents are quarreling because of the same mistake that she has done with Dev.
Then, as the resolution for her problem Miranda begins to cry when she remains
the moment with Dev. She also lied to Dev when he wants to go to her apartment.
She tries to avoid him by doing something else to forget Dev.
“As Miranda imagined the scene she began to cry a little herself. In the
Mapparium that day, all the countries had seemed close enough to touch,
and Dev’s voice had bounced wildly off the glass. From across the bridge,
thirty feet away, his words had reached her ears, so near and full of
warmth that they’d drifted for days under her skin. Miranda cried harder,
unable to stop. But Rohin still slept. She guessed that he was used to it
now, to the sound of woman crying.” (Sexy 60)
“On Sunday, Dev called to tell Miranda he was on his way. “I’m almost
ready, I’ll be there at two.”
“… “You shouldn’t come today”.
“I have a cold,” she lied. It wasn’t far from the truth; crying had left her
congested. “I’ve been in bed all morning.” (Sexy 60)
27
b. Character and Characterization
In this short story, there are two major characters and two minor
characters. Each of them have their different characterization, Miranda is the
protagonist and a dynamic character in this story. It can be proved by the dialog
and the narration in the text. She dominates the story, and the writer argues that
Miranda has several characterizations based on the text. Miranda also gives some
reflections to the Eastern people in this case Dev, she is described like a person
who observe, restructure, control and having an authority in judging East. Then
these are Miranda’s characterizations. First, Miranda is a curious woman. It is
described when she wants to know about Indian culture since she knows Dev
well.
“On Saturday, having nothing else to do, she walked to Central Square, to
an Indian restaurant, and ordered a plate of tandoori chicken. As she ate
she tried to memorize phrases printed at the bottom of the menu . . . she
studied the Bengali alphabet in the Teach Yourself series.” (Sexy 54)
The narration expresses way of Western strength on judging Eastern
people. In this case, Indian is described exotically, uncivilized, and irrational. It is
stated when the narration tells about Miranda’s experience on her visit to an
Indian home. This imaginative description leads to the Western domination that is
appeared from the narration about Miranda’s life in observing East (Indian
people).
“Apart from Laxmi and Dev, the only Indians whom Miranda had known
were family in the neighborhood where she’d grown up, named the Dixits.
Much to the amusement of the neighborhood children, including Miranda,
but not including the Dixit children, Mr. would jog each evening along the
flat winding streets of their development in his everyday shirt and trousers,
his only concession to athletic appare a pair cheap Keds. Every weekend,
the family-mother, father, two boys, and gilr-piled into their car and went
28
away, to where nobody knew. The fathers complained that Mr. Dixit did
not fertilize his lawn properly, did not rake his leaves on time, and agreed
that the Dixit’s house, the only one with vinyl siding, detracted from
nighborhood’ charm. The mothers never invited Mrs. Dixit to join them
around the Amstrongs’ swimming pool. Waiting for the school bus with
Dixit children standing to one side, the other children would say “The
Dixits dig shit,” under their breath, and then brust into laughter.” (Sexy 53)
Growing in an Indian area, makes Miranda feels that learning about India
is a usual thing she has learned that thing since she was nine years old. Then the
last, Miranda is described as a naive woman. In the text, she has an opinion that it
is okay to have a relation with a marriage man. With her single status, she thinks
that she can make a relation with everyone in this case Dev, a marriage man.
Besides that, her friend Laxmi always tells Miranda about her cousin that in
quarreling because of her husband goes with another woman does not make
Miranda thinks about her secret relationship with Dev. This is one of Western
reflection that appears by using positive perception about having a relationship. In
the other side, Laxmi’s is always described as the opposite one in arguing that
statement. That positive perception expresses Western strength in dominating the
main issue in this story.
“Somehow, without the wife there, it didn’t seem so wrong. At first
Miranda and Dev spent every night together, almost. He explained that he
couldn’t spend the whole night at her place, because his wife called every
day . . .” (Sexy 50)
Then, as a major character in this story, Dev also has big contribution and
he has several characterizations that stated in the text according to the dialogues
and narrations. First, Dev is as a gentle man. He waits for Miranda that he found
beauty and he is not shy to introduce his self to Miranda. Dev also does not afraid
to answer Miranda’s question about his wife. Dev is also described as a romantic
29
man. He always shows his romantic attitude to Miranda just to make her happy
through this dialogs and narration.
“. . . Dev was the first always pay for things, and hold doors open, and
reach across a table in a restaurant to kiss her hand. He was the first to
bring her a bouquet of flowers so immense she’d had split it up into all six
of her drinking glassed, and the first to whisper her name again and again
when they made love. . .” (Sexy 50)
Western aspect appears and it is described by using Dev’s attitude as a
reflection of power in restructuring someone identity. But in the other side, he is
also described as a weird man when he takes a nap, the narration tells about some
Eastern habit and the description about taking a nap becomes irrational in Western
vision, in this case Miranda as the main character.
“. . . After lunch they made love, on sheets covered with crumbs, and then
Dev took a nap for twelve minutes. Miranda had never known an adult
who took naps, but Dev said it was something he'd grown up doing in
India, where it was so hot that people didn't leave their homes until the sun
went down. . .” (Sexy 53)
c. Setting
The setting of story take some different place and time, the writer believes
that Miranda’s office is the first place, Miranda’s apartment, Filene’s basement,
and Mapparium. But all of those places are located in same city, Boston, United
States of America. The setting in the story reflects the domination of West. The
narration tells how America can reconstruct Dev’s identity from an Indian man
(Eastern people) to be a person who has forgotten his background.
“ . . . He said he admired her for moving to Boston, where she knew no
one, instead of remaining in Michigan, where she’d grown up and gone to
college. . .” (Sexy 50)
“ . . . Dev told her stories about his childhood, when he would come home
from school and drink mango juice served to him on a tray, and then play
30
cricket by a lake, dressed in all white. He told her about how, at eighteen,
he’d been sent to a college in upstate New York during something called
the Emergency, and about how it took him years to be able to follow
American accents in movies, in spite of the fact that he’d had an English-
medium education. . .” (Sexy 52, 53)
d. Point of View
The point of view of Sexy is third person narrator (omniscient), the author
tells story by using pronoun for each character in the story and knows about whole
story deeply. There is no participant that leads to narrate the story from the
beginning until the end of the story. According to DiYanni an omniscient point of
view will enter the mind of each of the characters and reveals what they think and
feel (53). Although, the point of view in this story uses third person narrator, the
focus of story is lead to Miranda as a West character. It can express the strength of
West that is appeared trough point of view and it also gives some benefits for
West to build its superiority. But in the other side, characters that are represented
by Dev and Laxmi are always described irrationally, and uncivilized (inferior)
than Miranda. Then here is the narration that revealing the thoughts of Miranda:
“Somehow, without the wife there, it didn’t seem so wrong. At first
Miranda spent every night together, almost. He explained that he couldn’t
spend the whole night at her place, because his wife called every day at six
in the morning, from India, where it was four in the afternoon. . . .” (Sexy
50)
e. Theme
For the theme of the story, the writer assumes that the idea of this story is
about love and an affair. The theme in this story also implies the situation of
Western life style nowadays. Like a soul in human body, the theme has correlation
to others elements of fiction that has been analyzed before. In this part, the writer
31
will give some evidences that support writer’s argument about the theme in this
story. As the superior one, West is very explicit in dominating the theme. The
narration that describes character’s life style is very strong and it reflects the
power of West in constructing the theme in this story.
“. . . I’m thinking about you, “ he’d say on the tape. “I can’t wait to see
you.” (Sexy 50)
“Dev was the first always pay for things, and hold doors open, and reach
across a table in a restaurant to kiss her hand. He was the first to bring her
a bouquet of flowers so immense she’d had split it up into all six of her
drinking glassed, and the first to whisper her name again and again when
they made love.” (Sexy 50)
As the superior one, the domination that has been done by West is
described very contextual. Especially in theme, the domination is appeared
through character’s life style in having a relationship. The narration always serves
the difference between how a relation that has been represented by Miranda and
Dev is more civilized and rational. But in the other side, Laxmi and her huband,
that actually an Indian is always described as the opposite.
f. Irony and Symbol
For Sexy, the writer finds the irony that stated in the text. Irony in this
story is described trough the incidents. It happens when the main character,
Miranda has a secret affair with someone husband but she feels that it is not seem
so wrong at least she finds her happiness with Dev. Although, her friend Laxmi,
who always talks to Miranda about same problem that happens to her cousin. The
irony appears so implicit in this story, West as the superior one shows its strength
to dominate the irony by using the positive perception about having an affair with
32
a marriage man or woman. It is also added by the setting of America that reflected
as a liberal country.
“Somehow, without the wife there, it didn’t seem so wrong. At first
Miranda and Dev spent every night together, almost. He explained that he
couldn’t spend the whole night at her place, because his wife called every
day . . .” (Sexy 50)
“If my husband so much as looked at another woman I'd change the
locks." She studied the picture tacked to her cubicle. Laxmi's husband had
his arm draped over her shoulder, his knees leaning in toward her on the
bench. She turned to Miranda, "Wouldn't you?" (Sexy 51)
For the symbol, the word Sexy as title becomes the symbol itself. At first,
it constructs main topic of this story. The narration and dialogue between the
characters explain its meaning based on their cultural background. That meaning
is very different in context. And it is described so implicit in the text. Miranda as
an American woman construes “Sexy” as a usual word to admire woman for the
beauty. But Rohin, an Indian boy interprets that word as a statement to say “love
to someone you do not know well”. This different interpretation guides to the
positive and negative perception between West and East based on the construction
that is described in the text. Then it can be inferred that West enters and it is
placed as the positive sight. In the other side, West as the superior is always
described more dominant in construe the meaning of “Sexy” as a symbol in this
story.
“Miranda sat down again. Though she knew it meant nothing, her heart
skipped a beat. Rohin probably reffered to all women as sexy. He’d
probably heard the word from television, or seen it on the cover of a
magazine. . . .” (Sexy 59)
“. . . Miranda pressed against him. He fell back on the bed, his back
straight as a board. He cupped his hands around his mouth, and then he
whispered, “It means loving someone you don’t know.” (Sexy 59)
33
Through the analysis of several elements of fiction in Sexy, we can define
the domination that has been done by West is described so explicit in the text. In
plot, Western perception enters and be the main discussion. It is described by
using its positive sight and described more dominant. West expresses its strength
through the character and characterization in this story. It is reflected by using the
way Western people think, act, and judging East. Then, in the other side, the
Eastern character is always described so imaginative, uncivilized, and irrational.
In setting, West becomes more dominant than in the previous elements. Not only
dominating as the setting of place, but also it can dominate Dev’s identity
indirectly. West becomes stronger when it dominates the point of view. The
domination is described clearly in this element, the focus leads to the Western
character and it helps West in judging and giving those imaginative descriptions
to East so well. In theme, the domination enters through the relation between West
and East that is reflected by the character’s life style and construing the meaning
of Sexy. The last, from the irony and symbol, it is quiet same in some previous
elements, West is described more civilized, and rational when it is appeared in the
irony. Then, for the symbol, difference between West and East is reflected in
defining the meaning of Sexy.
According to Said, Orientalism can express the strength of the West and
the Orient's weakness as seen by the West. Those strengths will lead to the
relation that has been built by West using its point of view to gives an imaginative
interpretation about East. Positive sight, civilized, and rational description are
always belongs to West. Then, East is always be the opposite in Orientalism. This
34
relation between West and East will directly guide us to see the relation of power,
domination, and varying degrees of hegemony.
2. This Blessed House
a. Plot
This Blessed House has a moving plot, in the beginning the plot is go
forward and then in the middle of story it has a flash back then moves again to the
previous story that talked about a newlywed Hindus couple who have found a lot
of Christian’s stuffs in their new house. The writer argues that the exposition of
this story is begun when Twinkle, a major character in this story finds a bottle of
vinegar and also porcelain of Jesus Christ. Sanjeev refuses to put those stuff
because they are Hindus, he is afraid that those stuffs will reflect to their identity.
But day by day, Twinkle finds other stuffs and it becomes like a treasure hunt in
her new house. So, she decides to collect those stuffs as many as she can. Those
Christian’s stuffs reflect the Western power in dominating the story. According to
the root of Western culture, Christian also brings its effort to dominate and enter
the colonized, in this case the Orient. In this exposition, the description about
them is very strong. And it indicates Western domination in This Blessed House.
“THEYDISCOVERED the first one in a cupboard above the stove, beside
an unopened bottle of malt vinegar.
“Guess what I found.” Twinkle walked into the living room, lined from
end to end with taped-up packing boxes, waving the vinegar in one hand
and a white porcelain effigy of Christ, roughly the same size as the vinegar
bottle, in the other”. (This Blessed House 73)
The way she amazes those stuffs lead this story to the complication
slowly. The conflict between Twinkle and Sanjeev, her husband, becomes more
complex together with the count the Christian’s stuffs that has been found and
35
loved by Twinkle. Sanjeev always refuses and asks Twinkle to throw them all
because he is afraid that those stuffs will reflect to their identity. Then the climax
appears when the housewarming party comes, Twinkle finds a poster of Christ,
and she insists to put it. And Sanjeev has to pretend and try to explain about all of
those things to his coworkers that have known about Sanjeev’s religion. In this
part, Western power is described by using the Christian’s stuffs. Those stuffs
reflect its strength to dominate and construct the story through conflict. Then, it
can be said that, Christian is represented as the superior one (Occident) and
Hindus as character’s religion as the inferior one (Orient).
“Nearly a week had passed before they discovered, one Saturday
afternoon, a larger-than-life-sized watercolor poster of Christ, weeping
translucent tears the size of peanut shells and sporting a crown of thorns,
rolled up behind a radiator in the guest bedroom. Sanjeev had mistaken it
for a window shade”. (This Blessed House 74)
“I hope you don’t mind my asking,” Douglas said, “but I noticed the statue
outside, and are you guys Christian? I thought you were Indian.”
“There are Christians in India,” Sanjeev replied, “but we’re not.” (This
Blessed House 80)
Then the last, falling action of this story begins when the housewarming
party begins everyone adore their new house, its uniqueness, and Twinkle. The
resolution comes when Twinkle goes to the attic and finds another awesome
Christian’s stuff that makes Sanjeev thinks about his relationship. He tries to be
patient, and does not want to break his relationship with Twinkle just because
those idiot stuffs.
“. . . For the rest of their days together she would keep it on the center of
the mantel, flanked on either side by the rest of the menagerie. Each time
they had guests Twinkle would explain how she had found it, and they
would admire her as they listened. . .” (This Blessed House 82)
36
b. Character and Characterization
There are two major characters in this story, they are Twinkle and Sanjeev.
Twinkle dominates the story, and she is a dynamic character too. Her attitude to
Sanjeev changes in the beginning and in the end of the story. Twinkle and Sanjeev
have several characterizations based on the story, but at first, the writer wants to
explain about Twinkle characterization that has a big contribution to constructs
the story so much. Twinkle is described as a talkative woman, she is never doubt
to show her expression to the something that she loved. In this story, she is
described as the rational one (Occident) by giving several perceptions about
having Christian’s stuffs in her house. But in the other side, Sanjeev is always
described irrational and uncivilized (Orient). Twinkle never listens to Sanjeev’s
advice about those stuffs that can be harm to their identity as a Hindus couple.
“We should call the Realtor. Tell him there’s all this nonsense left behind.
Tell him to take it away.”
“Oh, Sanj.” Twinkle groaned. “Please. I would feel terrible throwing them
away.
Obviously they were important to the people who used to live here. It
would feel, I don’t know, sacrilegious or something.” (This Blessed House
74)
Twinkle is also described as disobedient woman, she never listen to
Sanjeev her husband, or follow her own religion. This main character always
refuses her husband’s order to throw all of those stuffs. Then because of this
characterization, it makes Twinkle be like a stubborn woman who only does
something she wants without thinking twice about every step that she will take.
“Who cares? Who cares what way I leave this house?”
“Where are you planning on going at this hour?”
37
“You can’t throw away that statue. I won’t let you.” Her mask, now dry,
had assumed an ashen quality, and water from her hair dripped onto the
caked contours of her face.” (This Blessed House 79)
From the first characterization of Twinkle, it leads to the other
characterization. Twinkle is also described as an arrogant woman, she always does
what she wants without thinking about her identity as a Hindus. Although,
Sanjeev always gives her an advice and asks her not to display those stuff in the
mantel. Because he is afraid that it will reflect to their identity and he also thinks
that people will consider them crazy.
“We’re not Christian,” Sanjeev said. Lately he had begun noticing the
need to state the obvious to Twinkle. The day before he had to tell her that
if she dragged her end of the bureau instead of lifting it, the parquet floor
would scratch.”
“She shrugged. “No, we’re not Christian. We’re good little Hindus.” She
planted a kiss on top of Christ’s head, then placed the statue on top of the
fireplace mantel, which needed, Sanjeev observed, to be dusted.” (This
Blessed House 73)
West as the superior side in this story also appears when Twinkle does not
want to use her Indian name. It can be said that West can dominate and change
someone identity. Based on the narration, Twinkle is described as a woman who
learns literature, so it can be said that Western aspect enters and start to dominate
her in the name of knowledge.
“My wife. Tanima.”
“Call me Twinkle.”
“What an unusual name,” Nora remarked.
Twinkle shrugged. “Not really. There’s an actress in Bombay named
Dimple Kapadia.
She even has a sister named Simple.” (This Blessed House 79)
As a major character in this story, Sanjeev also has several
characterizations based on the text. He is described as a responsible man to his
38
faith and his wife. But, in the other side, Sanjeev is reflected as the inferior side in
this story. He always tries to remind Twinkle about the harm in collecting
Christian’s stuffs although Twinkle never listens to his advice. The narration
clearly expresses Western strength and Eastern weakness by giving such
imaginative description to the characters.
“Twinkle, I can’t have the people I work with see this statue on my lawn.”
“They can’t fire you for being a believer. It would be discrimination.”
“That’s not the point.”
“Why does it matter to you so much what other people think?”
“Twinkle, please.” He was tired.” (This Blessed House 78)
Sanjeev is described as a lonely man before he knows Twinkle for four
months and married her in India. He never falls in love to other woman, and since
he meets Twinkle everything change. He also has a patient characterization, in the
dialogue he is described the way he thinks and tolerates Twinkle’s decisions in
putting those stuffs in their house.
“Sanjeev was lonely, with an excessively generous income for a single
man, and had never been in love. (This Blessed House 76)
“Now, look. I will tolerate, for now, your little biblical menagerie in the
living room. But I refuse to have this,” he said, flicking at one of the
painted peanut-tears, “displayed in our home.” (This Blessed House 74)
c. Setting
The setting of this story takes place in Sanjeev and Twinkle new house
based on the text it is located in America. But, the writer does not find any
evidence about the setting of time. The narration always focuses to the conflict
between the character and description about the Christian’s stuffs. The setting in
this story also has a big contribution to West as superior one and Indian as the
inferior one. It is appeared when America as the setting is described as a place
39
where everyone can express their passion. In this part, it is reflected by using
Twinkle’s positive perception about those Christian’s stuffs.
“All the neighbors will see. They’ll think we’re insane.”
“Why, for having a statue of the Virgin Mary on our lawn? Every other
person in this neighborhood has a statue of Mary on the lawn. We’ll fit
right in.”
“We’re not Christian.”
“So you keep reminding me.” She spat onto the tip of her finger and
started to rub intently at a particularly stubborn stain on Mary’s chin. “Do
you think this is dirt, or some kind of fungus?” (This Blessed House 77)
c. Point of View
The writer assumes that This Blessed House is narrated by the third person
narrator omniscient. The author tells story by using pronoun for each character in
the story, then explains about whole story deeply by using dialogues. There is no
participant that leads to narrate the story from the beginning until the end of the
story. Dialogues from each character are delivered so deep and also using an
expression for the character’s feeling. But, in this story, the focus is narrated to
Twinkle who actually reflects Western strength and Eastern weakness (Sanjeev)
by giving an instance direction to Twinkle that is always described as the superior
side in this story.
“All the neighbors will see. They’ll think we’re insane.”
“Why, for having a statue of the Virgin Mary on our lawn? Every other
person in this neighborhood has a statue of Mary on the lawn. We’ll fit
right in.”
“We’re not Christian.”
“So you keep reminding me.” She spat onto the tip of her finger and
started to rub intently at a particularly stubborn stain on Mary’s chin. “Do
you think this is dirt, or some kind of fungus?” (This Blessed House 77)
40
d. Theme
The writer assumes that the theme in This Blessed House is about a
relationship and love. Main characters relationship leads the plot from the
beginning of story. Then love is appeared when the main characters tries to save
his marriage and decides not to have any argues about the Christian’s stuffs. In
dominating the theme, West express its strength when it defines the difference
between Christian and Hindus. Christian that represent as West, dominating the
story from the beginning until the end by using a well description about Christians
stuffs itself. Then the relation of it is really express the relation of power and
domination between West (Christian) and East (Hindus)
“He was getting nowhere with her, with this woman whom he had known
for only four months and whom he had married, this woman with whom
he now shared his life. He thought with a flicker of regret of the snapshots
his mother used to send him from Calcutta, of prospective brides who
could sing and sew and season lentils without consulting a cookbook.
Sanjeev had considered these women, had even ranked them in order of
preference, but then he had met Twinkle.” (This Blessed House 77)
e. Irony and Symbol
The irony itself comes from the incident in the story where Twinkle who
actually a Hindus falls in love to the Christian’s stuffs so much. She never listens
to his husband’s advice about the reflection that may be harmful for them. West
express its domination through the irony, in this point when a Christian’s stuff is
always get a well description and also reflected to the character’s identity.
“But it could be worth something. Who knows?” She turned it upside
down, then stroked, with her index finger, the minuscule frozen folds of its
robes. “It’s pretty.”
“We’re not Christian,” Sanjeev said. Lately he had begun noticing the
need to state the obvious to Twinkle.” (This Blessed House 73)
41
The symbol is described by using Christian’s stuffs (Western product).
They symbolize a beauty, domination and also power. In this story those Christian
(West) stuffs are always described so well and in the other side, there is not a
description about Hindus stuffs (East) that actually becomes the main character
faith.
“Twinkle, I can’t have the people I work with see this statue on my lawn.”
“They can’t fire you for being a believer. It would be discrimination.”
“That’s not the point.”
“Why does it matter to you so much what other people think?”
“Twinkle, please.” He was tired. He let his weight rest against his rake as
she began dragging the statue toward an oval bed of myrtle, beside the
lamppost that flanked the brick pathway. “Look, Sanj. She’s so lovely.”
(This Blessed House 78)
Based on the analysis above, we can see how deep Orientalism works
through the domination that has been done by West in several elements of fiction
of This Blessed House. In plot, West enters the main discussion by reflecting
Christian’s stuffs as its strength to dominate the plot. In the character and
characterization, West express it strength by dominating the Eastern character,
Twinkle, and represents her as the West, then represents Sanjeev as East. Twinkle
is also described as a woman who has been controlled by West. In this story, she
refuses to use her Indian name as her identity. She also described as the rational,
civilized and modern one. It is so different with Sanjeev that always described as
conservative, uncivilized, and irrational man in this story. In setting, America
shows its efforts to reflect the domination of West. As a superior, America is
described as a place that can change someone identity, in this case Twinkle’s
identity. In point of view, the domination can be seen when the focus of story
always lead to Twinkle that is represented as West character in this story. It makes
42
West easier to define East (Sanjeev) and draws the imaginative description of it.
In theme, West also dominates and constructs the story through the relation
between characters and religion. West enters the theme implicitly and it is
reflected using the Christian’s stuffs as the expression of Western strength and
Hindus as the expression of Eastern weakness in this story. And the last, in irony
and symbol, the domination is reflected through character’s identity who actually
a Hindus (East) but described as a person who falls in love to the Christian’s
stuffs (West) so bad. Moves to symbol, the domination is clearly described by
using Christian’s stuffs as a reflection of Western power in dominating the
Eastern character in this story. Those stuffs always have a well description and
also positive interpretation in this story.
Said assumes that Orientalism is a long term of imaginative creation
through several aspects, especially text. Texts of literature like shorts, novels,
drama, or film. Moreover, West also dominates the cultural role played by the
Orient that connects Orientalism with ideology, politics, and also religion.
Christians can be assumed as the reflection of Western power in religion field. It
always has better description and also place than East. Those kinds of description
are clearly shown in This Blessed House. But in the other side, Hindus (Orient) is
always becomes the second or weaker than Christians in this story and it almost
gets no description at all.
43
3. When Mr. Pirzada Came to Dine
a. Plot
In When Mr. Pirzada Came to Dine, the plot goes forward and the author
gives a clear narration to the story and she also delivers the plot so well. The
writer assumes that the exposition is started when the narrator in this case Lilia
who tells about Mr. Pirzada’s background of culture. In this story, Lilia gives her
perspectives clearly about the new world that she does not know before. The
exposition shows about the condition of Pakistan that full of chaos because of
war. This imaginative description leads to the main topic of the story. And in the
other side, it also reflects Western strength in dominating the plot of this story.
“. . .His name was Mr. Pirzada, and he came from Dacca, now the capital
of Bangladesh, but then a part of Pakistan. That year Pakistan was engaged
in civil war. The eastern frontier, where Dacca was located, was fighting
for autonomy from the ruling regime in the west. . .” (When Mr. Pirzada
Came to Dine 20)
Then moving to the complications, it is began when she becomes care
about the situation in Mr. Pirzada’s hometown. She tries to learn deeper and
deeper about Eastern world especially about the partition between India and
Pakistan that is happening in this story. Then the climax of this story happens
when the situation of war becomes more dangerous in Pakistan. Lilia cares about
Mr. Pirzada, feels the emotion too.
“It was an awkward moment for me, one which I awaited in part with
dread, in part with delight. I was charmed by the presence of Mr. Pirzada’s
rotund elegance, and flattered by the faint theatricality of his attentions, yet
unsettled by the superb ease of his gestures, which made me feel, for an
instant, like a stranger in my own home. It had become our ritual, and for
several weeks, before we grew more comfortable with one another . . .”
(When Mr. Pirzada Came to Dine 22)
44
The falling action of this story happens when Mr. Pirzada has come home
to Pakistan. Then Lilia’s family starts their life again without Mr. Pirzada who
always comes to her house for a dinner and watches news. And the resolution is
begun when Lilia’s family gets a card from Mr. Pirzada contains a short message
that tells about his reunite with family and he does not forget to thank to Lilia’s
family for the hospitality.
“Finally, several months later, we received a card from Mr. Pirzada
commemorating the Muslim New Year, along with a short letter. He was
reunited, he wrote, with his wife and children. All were well, having
survived the events of the past year at an estate belonging to his wife’s
grandparents in the mountains of Shillong. His seven daughters were a bit
taller, he wrote, but otherwise they were the same, and he still could not
keep their names in order. At the end of the letter he thanked us for our
hospitality, adding that although he now understood the meaning of the
words “thank you” they still were not adequate to express his gratitude”.
(When Mr. Pirzada Came to Dine 28)
b. Character and Characterization
There are four characters in this story, but the writer takes two major
characters that have big contribution to this story. They are Lilia and Mr. Pirzada.
Lilia is a dynamic character and Mr. Pirzada is a static one. Lilia is described as a
10th
years old girl who is curious to East, in this story she changes her perception
and also her attitude. As a major character Lilia has several characterizations that
stated in the text. First, she is a smart girl when she thinks about the situation in
Pakistan. But in the other side, she is also described as an Indian-American girl
who has an authority in judging Mr. Pirzada. It can be said that, Lilia is expressed
as Western strength in this story.
“When I said I thought that was the date of India’s independence from
Britain, My father said, “That too. . .” (When Mr. Pirzada Came to Dine
21)
45
“No one at school talked about the war followed so faithfully in my living
room. We continued to study the American Revolution, and learned about
the injustices of taxation without representation, and memorized passages
from the Declaration of Independence.” (When Mr. Pirzada Came to Dine
24)
Based on the text, she is described as a girl that becomes so curious to the
Eastern world and she wants to know deeper about it by learns a book that has she
found in the school library. She also observes Mr. Pirzada’s habit when he is in
her house. From those media she learns about Eastern world.
“I returned to the blond-wood shelves, to a section I had noticed labeled
“Asia.” I saw books about China, India, Indonesia, Korea. Eventually I
found a book titled Pakistan: A Land and Its People. I sat on a footstool
and opened the book.” (When Mr. Pirzada Came to Dine 24)
“Now that I had learned Mr. Pirzada was not an Indian, I began to study
him with extra care, to try to figure out what made him different.” (When
Mr Pirzada Came to Dine 23)
As a static character, Mr. Pirzada just has a little description about his self.
But according to the data, he is described as a decorous man, and a good lover
(especially to his children and Lilia). The narration about Mr. Pirzada is appeared
from Lilia’s perception and the dialogue between each character. Mr. Pirzada is
described as an inferior one in Lilia’s view. As the superior one, Lilia always
observes his habit every time Mr. Pirzada came to her house in the evening.
“. . .Perhaps I should accompany them?” Mr. Pirzada suggested. He
looked suddenly tired and small, standing there in his splayed, stockinged
feet, and his eyes contained a panic I had never seen before. In spite of the
cold I began to sweat inside my pillowcase.
“Really, Mr. Pirzada,” my mother said, “Lilia will be perfectly safe . . .”
(When Mr. Pirzada Came to Dine 27)
“Like my parents, Mr. Pirzada took off his shoes before entering a room,
chewed fennel seeds after meals as a digestive, drank no alcohol, for
dessert dipped austere biscuits into successive cups of tea”. (When Mr.
Pirzada Came to Dine 21)
46
c. Setting
When Mr. Pirzada Came to Dine takes setting in Lilia’s house and school
these two places are located in Boston, USA. But Lilia’s house is dominating the
setting of place in this story. Then for the setting of time, it takes in every evening
when Lilia’s parents and Mr. Pirzada always gathers for a dinner and have a
discussion about what happens with the partition between India and Pakistan.
There is a big different description about place in this story. America that
represents Western world (superior) is described better than Pakistan as Eastern
world (inferior). Those kinds of description are really imaginative, Dacca, the
capital city of Pakistan is described as a city that full of chaos, war, and unstable
condition. But in the other side, America that is more dominant in controlling this
story shows its strength by using the opposite description from Pakistan as the
Eastern world.
“In spring and summer he had gathered data in Vermont and Maine, and in
autumn he moved to a university north of Boston, where we lived, to write
a short book about his discoveries”. (When Mr. Pirzada Came to Dine 20)
“. . . That year Pakistan was engaged in civil war. The eastern frontier,
where Dacca was located, was fighting for autonomy from the ruling
regime in the west. In March, Dacca had been invaded, torched, and
shelled by the Pakistani army. Teachers were dragged onto streets and
shot, women dragged into barracks and raped. By the end of the summer,
three hundred thousand people were said to have died . . .” (When Mr.
Pirzada Came to Dine 20)
d. Point of View
Then after setting, point of view in this story has a perception based on
Lilia. So the writer assumes that this story is concluded as the first person
narrator. Lilia talks about her own story. Then, she shows her expression about
47
what happens to Mr. Pirzada’s family. This sight of point of view leads the
domination of West itself, Lilia always has an authority in judging Mr. Pirzada’s
habit. Although she also comes from India according to her parents, but she has
grown up as an Indian-American girl who sees East as something to be observed.
“It made no sense to me. Mr. Pirzada and my parents spoke the same
language, laughed at the same jokes, looked more or less the same. They
ate pickled mangoes with their meals, ate rice every night for supper with
their hands. Like my parents, Mr. Pirzada took off his shoes before
entering a room, chewed fennel seeds after meals as a digestive, drank no
alcohol, for dessert dipped austere biscuits into successive cups of tea. . . ”
(When Mr. Pirzada came to Dine 21)
e. Theme
The writer believes that war is the theme of this story because the narration
and plot are focus on the partition between Pakistan and India. It also reflects to
the major character in this story. But deep in this story there is an assimilation that
is described in the text. Eastern culture enters through Mr. Pirzada’s habits, but
the narration still expresses Western domination through perception and the
representation of the situation according to the story.
“What they heard that evening, and for many evenings after that, was that
India and Pakistan were drawing closer and closer to war. Troops from
both sides lined the border, and Dacca was insisting on nothing short of
independence. The war was to be waged on East Pakistani soil. The United
States was siding with West Pakistan, the Soviet Union with India and
what was soon to be Bangladesh. War was declared officially on
December 4, and twelve days later, the Pakistani army, weakened by
having to fight three thousand miles from their source of supplies,
surrendered in Dacca. All of these facts I know only now, for they are
available to me in any history book, in any library”. (When Mr. Pirzada
Came to Dine 27, 28)
48
f. Irony and Symbol
From this story, the writer finds an irony of a clear statement that comes
from Lilia’s mother who actually an Indian. But, after live in America she is
described like a person who has forgotten her background by giving a positive
sight living in America and negative one if they live in India (Eastern World).
From this narration, it can be said that West enters becomes more dominant in
restructuring Lilia’s mother mind. It creates an imaginative judgment to East and
that perception shows Western strength in control and dominating the irony itself.
“Lilia has plenty to learn at school,” my mother said. “We live here now,
she was born here.” She seemed genuinely proud of the fact, as if it were a
reflection of my character. In her estimation, I knew, I was assured a safe
life, an easy life, a fine education, every opportunity. I would never have
to eat rationed food, or obey curfews, or watch riots from my rooftop, or
hide neighbors in water tanks to prevent them from being shot, as she and
my father had.” (When Mr. Pirzada Came to Dine 21)
Based on the analysis of elements of fiction above, it can be defined that
West has dominated and constructed the story directly or indirectly. In plot, West
enters and shows its power in dominating the main issue, in this case an
imaginative description about a war that is happening in this story. In character
and characterization, West is reflected by using Lilia as the Western side who
always observe Mr. Pirzada. Then as an object to Lilia, Mr. Pirzada is reflected as
the Eastern side who always as the uncivilized, irrational and weird according to
Lilia’s view. For the setting, the domination that has been done by West is clearly
depicted in the text. The differences are reflected by using a between America and
Pakistan are really imaginative. America is described as a comfort place to be
lived, and Pakistan is described as a place that full of chaos, war, and unstable in
49
this story. In point of view, the domination is depicted by using Lilia’s view
because she becomes the narrator in this story and she also reflected as Western
strength in defining East, in this case Mr. Pirzada. As a theme, war in the Eastern
world is clearly shows its power to lead the domination of West in this story. And
last, in irony West also be more dominant side. That domination is represented on
how Lilia’s mother as an Indian gives her negative perceptions about the Eastern
world (Pakistan and India).
The difference between West and East is a long term imaginative creation.
Orientalism itself is built by human production (Western people) as the superior
side to define everything non-Europe (East) as the inferior side. It also can be used
to express Western strength and Eastern weakness in some of academic field. Its
expression will appear through the description, positive sight, and also be the
dominant like in this analysis. But as a long term creation, the gap between West
(Occident) and East (Orient) also enters the geographical border.
50
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
In this chapter, the writer takes the conclusions from this study that
analyze Western domination from Jhumpa Lahiri’s short stories entitled Sexy, This
Blessed House, and When Mr. Pirzada Came to Dine. These short stories are
taken from Jhumpa Lahiri’s book entitled Interpreter of Maladies that is
published in 1999. This research uses qualitative method is analyzed by using the
elements of fiction by Robert DiYanni and Orientalism by Edward W. Said.
These three short stories by Jhumpa Lahiri reveal the relation between
West and East. The power of West as the superior and East as the inferior are
clearly described by the narration and dialog. West always has a positive
description, it is depicted more civilized, rational, and modern. But as the inferior
one, East is described as the uncivilized, irrational and conservative. That
imaginative creation about East leads to the expression of Western strength in
dominating several elements of fiction in these three short stories. Those
expressions enter the elements of fiction in these short stories such as in plot,
character and characterization, setting, point of view, theme, irony and symbol.
West as the Occident also builds a gap to East by giving its point of view about
the condition in Pakistan as the Orient that full of chaos because of war.
Correlates with Orientalism from Edward W. Said who explains the
relation between West and East, it can be concluded that (West) in this case
51
America as the superior dominates and construct the story by expressing its
strength on elements of fiction, giving an imaginative creation, and set aside
(East) India and Pakistan through the narration and dialogue. Then, it can be said
that these three short stories are examples of orientalism practice on how West
dominates East by using America that is reflected as the occident then India and
Pakistan as the Orient.
B. Suggestion
This research analyzed Western domination in several elements of fiction
that is described in the story which reveals the relation between West and East by
using Orientalism theory from Edward W. Said through the narration and
dialogue. Based on the analysis above, the writer would like to suggest to the
reader and further researcher to more concern in analyzing cultural issues in
literary works by enlarging ours knowledge about post-colonialism concept.
The next researcher also can analyze other literary works, such as film,
poem, lyrics, novel or short story by paying attention to the cultural issues or
relation between West and East and use Orientalism theory of the study.
52
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54
APPENDIX
The cover of Interpreter of Maladies an Anthology of Short Story by Jhumpa
Lahiri.
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