I have never read a book like "The Vegetarian" before in a single sitting. It unsettled me, disturbed me, and yet, I couldn’t put it down. Han Kang’s novel pulled me into a world where the ordinary turns surreal, where a simple decision to stop eating meat becomes an act of rebellion, madness, and transformation. As a vegetarian, it was impossible for me to comprehend the central conflict of the novelwhy can’t someone choose to be vegetarian?
The story follows Yeong-hye, a woman who, after a series of disturbing dreams, decides to stop eating meat. It is not a loud decision; she does not declare it to the world. She simply stops. But in the rigid, patriarchal society of South Korea, this small act sets off a series of shocking events. Her husband, Mr. Cheong, sees it as an inconvenience. He cannot understand why his wife refuses to cook meat for him.
“Before my wife turned vegetarian, I’d always thought of her as completely unremarkable in every way.”
This line hit me hard. How can someone think of their own partner as unremarkable? He repeatedly portrays her in a negative light unattractive, troublesome trying to prove that she is a "madwoman in the attic." "Your body smells of meat," she says, reducing him to an object of disgust.
As I read, I felt increasingly uneasy. Mr. Cheong does not love Yeong-hye. He only loves the routine, the convenience she provides. He sees her as a duty, an extension of himself. And when she dares to make a choice for herself, he reacts with disgust and violence. The moment her father and brother force meat into her mouth at a family dinner made my stomach churn. I felt Yeong-hye’s suffocation, her helplessness, as she was held down and fed something she no longer wanted to consume.
This novel made me question so much about choice, control, and how society polices women’s bodies. Yeong-hye’s body becomes a battlefield, a space that others seek to control her husband, her family, even doctors. She stops eating. She stops speaking. She withdraws further and further into herself. She dreams of turning into a tree, of shedding her human form entirely. At first, I was confused—how could someone desire to stop being human? But the more I read, the more I understood. In a world that is cruel, where autonomy is denied, where even your own body is not yours, becoming something else, something that cannot be hurt, starts to seem like the only escape. She says,
"I become a different person, a different person rises up inside me, devours me..."
The novel is divided into three parts, each narrated from a different perspective. The first is from her husband, the second from her brother-in-law, and the third from her sister, In-hye. I longed for Yeong-hye’s own voice. She remains distant, silent, slipping away from the reader just as she slips away from the world. But maybe that’s the point. Maybe we are meant to feel that loss, that absence.
The second part of the novel was the most haunting for me. Yeong-hye’s brother-in-law becomes obsessed with her. He is a failed artist, and he sees Yeong-hye not as a person, but as something to be used for his art, for his desire. He convinces her to let him paint her body with flowers, to film her in erotic, surreal scenes. “Only the images in my mind are real. My wife, my child, my work—none of them matter.”This obsession repulsed me. Yeong-hye, already fragile, is once again being used by someone else. And yet, in her mind, she is free. She embraces the idea of becoming something beyond flesh and bone. Her body is described as "violence that could not simply be dismissed as passivity or idiocy or indifference, which she would appear to be struggling to suppress." I couldn’t decide if this was liberation or complete self-destruction. Maybe it was both.
In the final section, we see Yeong-hye in a psychiatric hospital. She has stopped eating entirely. She stands in the sunlight for hours, believing herself to be absorbing energy like a plant. In-hye, her sister, is the only one who stays by her side. This part broke me. In-hye, exhausted and alone, realizes that she, too, has been trapped her whole life trapped in duty, in sacrifice, in expectations. “Why, is it such a bad thing to die?” Yeong-hye asks her. And for a moment, In-hye cannot answer. "Had her body metamorphosed into a sturdy trunk, with white roots sprouting from her hands and clutching the black soil?"
This book made me feel helpless. It made me feel uneasy. But most of all, it made me feel deeply connected to Yeong-hye’s suffering. It is not a book about vegetarianism. It is a book about resistance, about mental illness, about the ways society crushes those who do not conform. Han Kang’s writing is sparse, cold at times, yet filled with unbearable beauty. She does not give us clear answers. She does not tell us what is right or wrong. She simply shows us the unraveling of a woman who wanted something different.
By the end of the novel, I was left with a heavy heart. Yeong-hye’s journey is not one of triumph. It is one of erasure. And yet, she lingers. Her presence, her silence, her pain—these stay with me. "What terror, what anger, what agony, what hell?"
I don’t know if I loved this book. Love is the wrong word. But I will never forget it. And maybe that’s what truly matters.
Yes, so this is my review hope that will make you inspire to read it.
Have you ever been fascinated by a magician’s trick so smooth that you couldn’t tell what was real and what was an illusion? Now, imagine a detective stepping into that world, where deception isn’t just part of a performance but hides a dangerous truth. That’s exactly what happens in Nayan Rahasya, a thrilling detective story by Satyajit Ray.
The story starts with a magician, Mr. Tarafdar, discovering a young boy with an extraordinary gift an almost supernatural ability to work with numbers. Impressed, he takes the boy to Chennai to be part of his magic show. But as the stage lights shine and the audience watches in awe, something strange is happening behind the scenes.
Feluda, the sharp and fearless detective, is asked to ensure the boy’s safety. At first, it seems like a simple task, but then a shocking murder turns everything upside down. Mr. Hingorani, a man connected to the magician’s world, is found dead. What started as a harmless trip soon becomes a dangerous puzzle filled with secrets, lies, and hidden enemies.
Every Feluda story is incomplete without his two trusted companions: though it was my first go with them.
Feluda (Pradosh C. Mitter): The brilliant detective who solves cases with pure intelligence and keen observation.
Topshe: The young narrator and Feluda’s cousin, who gives us a front-row seat to the mystery.
Lalmohan Babu (Jatayu): The crime-fiction writer with a hilarious personality. His innocent, sometimes silly questions add humor to the serious investigation.
The way these three characters interact is one of the best parts of the book. Feluda’s sharp mind, Topshe’s curiosity, and Lalmohan Babu’s funny remarks create the perfect balance of thrill and entertainment.
What makes Nayan Rahasya so gripping? It’s the way Ray tells the story. He doesn’t overload the reader with long descriptions. Instead, he keeps the language simple and the pacing fast. Every chapter gives a new clue, a new twist, making it impossible to stop reading.
His writing also makes you think. Just like a magician makes you doubt your own eyes, Ray plays with the reader’s mind. Can we trust what we see? Can numbers and logic be manipulated? As Feluda uncovers the truth, you realize that every detail in the book has a purpose.
Yes, there’s a murder. Yes, there’s an investigation. But this book is more than just solving a crime. It explores the world of illusions and deception both on stage and in real life. It makes you question:
Can intelligence be a blessing and a curse?
How easy is it to trick the human mind?
Is everything we see really the truth?
Ray beautifully connects magic and crime, showing that in both cases, things aren’t always what they seem.
An Unusual Setting: The mix of magic and mystery makes the story stand out.
Fast-Paced Action: There’s no unnecessary drama—just pure suspense and thrilling discoveries.
Feluda’s Genius: Watching him connect clues is as satisfying as watching a magician reveal a trick.
A Clever Mystery: Just when you think you’ve figured it out, Ray surprises you again.
While the story is brilliant, I felt that some characters, especially the magician and the boy, could have been explored more deeply. Their background and motivations could have made the mystery even richer. Also, the ending felt a bit rushed. A little more buildup would have made the final revelation even more exciting.
If you love detective stories, you need to read Nayan Rahasya. It’s short, sharp, and full of surprises. Whether you’re a longtime Feluda fan or reading Satyajit Ray for the first time, this book is a perfect mix of suspense, humor, and intelligence.
So, are you ready to step into the world of illusions and uncover the truth? Read Nayan Rahasya and see if you can solve the mystery before Feluda does!
Thank you for your time.
I would like to acknowledge Chatgpt for assisting me.
The Nazis and Vultures: An Analysis through Chinua Achebe’s 'Vultures'
Chinua Achebe (1930–2013) was a Nigerian writer and poet, best known for his novel Things Fall Apart. In his poem Vultures, Achebe draws a strong parallel between the scavenger birds and the inhuman cruelty of the Nazis. The poem presents an unsettling image of vultures that, despite their ugly and grim nature, exhibit a sense of affection. Achebe contrasts this with the image of a Nazi commander, who after a day of orchestrating mass killings, returns home to show love to his family.
“Yesterday they picked the eyes of a swollen corpse in a water-logged trench and ate the things in its bowel.”
In the greyness and drizzle of one despondent dawn unstirred by harbingers of sunbreak a vulture perching high on broken bones of a dead tree nestled close to his mate his smooth bashed-in head, a pebble on a stem rooted in a dump of gross feathers, inclined affectionately to hers. Yesterday they picked the eyes of a swollen corpse in a water-logged trench and ate the things in its bowel. Full gorged they chose their roost keeping the hollowed remnant in easy range of cold telescopic eyes.
"Strange indeed how love in other ways so particular will pick a corner in that charnel-house tidy it and coil up there, perhaps even fall asleep her face turned to the wall!"
" Thus the Commandant at Belsen Camp going home for the day with fumes of human roast clinging rebelliously to his hairy nostrils will stop at the wayside sweet-shop and pick up a chocolate for his tender offspring waiting at home for Daddy's return..."
The connection between the Nazis and vultures lies in their duality both creatures of death, yet capable of showing attachment or love. The vultures survive by feeding on the dead, representing the destructive power of war and genocide. Similarly, the Nazis thrived on violence and oppression but led seemingly normal personal lives. This duality makes the reader question human morality. Achebe’s poem forces us to reflect on whether love can coexist with absolute evil, suggesting that cruelty and kindness can exist within the same being.
Present-Day Atrocities Against Minorities :
The themes of Vultures remain relevant in today's world, where atrocities against minorities continue in various forms. The persecution of the Rohingya Muslims in Myanmar serves as a modern-day parallel to the suffering described in Achebe’s poem. Thousands of Rohingya have been killed, and many more have been forced into refugee camps, their lives reduced to mere survival, much like the victims of Nazi concentration camps.
Similarly, the treatment of Uighur Muslims in China reflects the ongoing brutalities against marginalized groups. Reports of forced labor, mass surveillance, and re-education camps echo the structured oppression and systematic extermination seen in Nazi Germany. Just as the Commandant in Achebe’s poem is capable of love for his family while committing atrocities, many officials justify their actions under the guise of national security or progress.
In India, rising incidents of mob violence and religious persecution, particularly against Muslims and Dalits, further illustrate the grim reality of modern oppression. The recent targeted demolitions of Muslim homes, extrajudicial killings, and hate speeches mirror the systemic dehumanization of specific communities. The treatment of Palestinians in conflict zones also highlights the continued suffering of minorities under political and military regimes.
Achebe’s Vultures warns us that cruelty is not a thing of the past it exists in new forms, often hidden under political rhetoric, economic strategies, and nationalistic fervor. His poem serves as a reminder that the 'perpetuity of evil' is lodged within human societies, making it imperative to recognize and resist such injustices in the present world.
The Significance of the Title “Live Burial”
Wole Soyinka (born 1934) is a Nigerian playwright, poet, and essayist, and the first African laureate of the Nobel Prize in Literature. His poem Live Burial is deeply symbolic, evoking the horror of being buried alive. It represents oppression, helplessness, and suffering. In literature, live burial has often been used as a metaphor for individuals who feel trapped in their circumstances—be it political, social, or psychological.
Sixteen paces By twenty-three. They hold Siege against humanity And Truth Employing time to drill through to his sanity...
In a broader sense, Live Burial can also symbolize a loss of identity, where people are metaphorically buried under societal expectations, racism, or historical injustices. The theme resonates with the struggles of marginalized groups, where individuals are forced into silence or erasure. The title suggests a state of living death, where one exists physically but is deprived of freedom and dignity.
“Seal him live In that same necropolis. May his ghost mistress Point the classic Route to Outsiders' Stygian Mysteries.”
In the present day, the concept of 'live burial' applies to writers and intellectuals who face censorship and suppression. Many authors and journalists experience persecution for their views, and their voices are metaphorically 'buried' by oppressive regimes.
Arundhati Roy, an Indian writer known for The God of Small Things and her political essays, has faced backlash for her outspoken critiques of government policies. She has been accused of sedition and has faced legal battles simply for expressing her opinions.
“Bulletin: He sleeps well, eats Well. His doctors note No damage Our plastic surgeons tend his public image.”
Similarly, media freedom is increasingly under threat, with journalists being silenced or imprisoned for exposing corruption or human rights violations. Across the world, from India to China, from Russia to the United States, the press struggles to maintain its autonomy in the face of political and corporate pressure. The rise of propaganda and misinformation further exacerbates this problem, as truthful voices are often drowned out or deliberately sidelined.
“Confession Fiction? Is truth not essence Of Art, and fiction Art? Lest it rust We kindly borrowed his poetic licence.”
Soyinka’s Live Burial remains a powerful metaphor for these modern struggles. The poem’s imagery of confinement and forced silence mirrors the experiences of those who fight for truth and justice but are buried under layers of political and social repression. It serves as a reminder that the battle for free expression is ongoing, and that even in the darkest times, resistance must continue.
A Critical Note on “To the Negro American Soldiers”
Léopold Sédar Senghor (1906–2001) was a Senegalese poet, politician, and cultural theorist. His poem To the Negro American Soldiers speaks of the paradox faced by Black American soldiers during war. They fought for freedom and justice on foreign lands, while being denied basic rights in their own country. The poem highlights the irony of their situation risking their lives for ideals that America itself did not grant them.
"I did not recognize you in prison under your sad-colored uniform I did not recognize you under the calabash helmet without style I did not recognize the whining sound of your iron horses, who drink but do not eat..."
Intertextually, the poem echoes themes found in works like Langston Hughes’s I, Too and Claude McKay’s If We Must Die. Hughes celebrates the resilience of Black Americans, while McKay calls for dignity in resistance. Similarly, Paul Laurence Dunbar’s We Wear the Mask aligns with the theme of African Americans hiding their true pain beneath a facade.
The poem also recalls the historical reality of figures like the Tuskegee Airmen, who served with distinction despite racial discrimination. The broader historical context includes the Civil Rights Movement, where many Black veterans became activists after experiencing the contradiction of fighting for freedom abroad while facing segregation at home.
Through these intertextual references, To the Negro American Soldiers becomes a powerful critique of racial injustice, forcing readers to question the true meaning of liberty and equality. The poem is a tribute to the courage of these soldiers, reminding us that their fight was not just on the battlefield but also within their own country.
The themes of Senghor’s poem continue to resonate today, especially when examining racial discrimination in the U.S. and caste-based discrimination in India. African Americans still face systemic racism in various forms, from police brutality to economic marginalization. The Black Lives Matter movement emerged as a response to these injustices, echoing the struggle of past generations for equality.
Similarly, in India, caste discrimination remains a persistent issue. Dalits, often referred to as “untouchables,” face violence, social exclusion, and economic deprivation. Cases of lynching, caste-based rape, and denial of basic rights reveal the deep-seated prejudice that continues to exist. Just as Black American soldiers fought for a country that denied them dignity, many Dalits contribute to India’s growth while being denied equal opportunities.
The irony of fighting for freedom while being denied basic rights remains a global issue. Senghor’s poem serves as a powerful critique of these contradictions, forcing readers to question the true meaning of liberty and equality. His tribute to the courage of Black soldiers extends beyond its historical context, reminding us that struggles against racial and caste-based oppression persist today. The poem stands as a call to action, urging society to confront and dismantle systemic injustices wherever they exist.
Words: 1810
Images : 7
Videos : 3
References :
Achebe, Chinua. Vultures. In Collected Poems, Anchor Books, 2004.
Amnesty International. “China’s Mass Internment of Uighurs and the Global Response.” 2021.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso, 2006.
Bhan, Gautam. In the Public’s Interest: Evictions, Citizenship, and Inequality in Contemporary Delhi. University of Georgia Press, 2016.
Dunbar, Paul Laurence. We Wear the Mask. In The Complete Poems of Paul Laurence Dunbar, Dodd, Mead & Company, 1913.
Gopal, Priyamvada. Insurgent Empire: Anticolonial Resistance and British Dissent. Verso Books, 2019.
Hughes, Langston. I, Too. In The Collected Poems of Langston Hughes, Vintage Classics, 1995.
Human Rights Watch. “Anatomy of a Genocide: Myanmar’s Crimes Against the Rohingya.” 2018.
Jaffrelot, Christophe. India’s Silent Revolution: The Rise of the Lower Castes in North India. Columbia University Press, 2003.
McKay, Claude. If We Must Die. In The Passion of Claude McKay: Selected Poetry and Prose, Schocken Books, 1973.
Senghor, Léopold Sédar. To the Negro American Soldiers. In The Collected Poetry, University of Virginia Press, 1991.
Soyinka, Wole. Live Burial. In Collected Poems, Oxford University Press, 2007.
Taylor, Keeanga-Yamahtta. From #BlackLivesMatter to Black Liberation. Haymarket Books, 2016.
Wole Soyinka’s A Dance of the Forests is one of his most complex plays. Many critics have avoided analyzing it because it does not follow a clear storyline or have a main character. It was written in 1960 for Nigeria’s independence celebrations but does not glorify the past or present. Instead, Soyinka presents a dark view of history, showing that both the past and the present are filled with corruption, betrayal, and violence. He warns that the future will also be bleak if people do not learn from history. The play is not just about Nigeria but has a universal message about human nature and society.
Proposed Alternative Ending for 'A Dance of the Forests' :
In Wole Soyinka’s A Dance of the Forests, the play ends on an ambiguous note, reflecting the cycle of human folly and the difficulty of true transformation. However, an alternative ending could present a more decisive resolution while staying true to Soyinka’s themes of history, responsibility, and renewal.
As dawn breaks, Demoke, Rola, and Adenebi find themselves still trapped in the mystical forest. Instead of merely acknowledging their past failures, they are given a final challenge by Forest Head. He demands that they actively change their ways by proving their commitment to a new order.
Demoke, still haunted by his crime, is tasked with carving a new totem not one of conquest and power but of unity and balance. As he begins, Ogun reappears, blessing his hands, indicating that art, when used for good, can heal both the artist and society. Rola, symbolizing Nigeria’s corrupt elite, is forced to confront the ghosts of her past victims.
She is given a choice: to embrace her past life as Madame Tortoise or to reinvent herself as a protector of the vulnerable. She chooses the latter, deciding to open a refuge for women exploited like she once was. Adenebi, once complicit in the suffering of his people, is made to live among them, experiencing firsthand the pain he helped inflict.
The spirits of the Dead Man and Dead Woman no longer lament; instead, they find peace, seeing the possibility of redemption. The Half-Child, representing Nigeria’s uncertain future, is finally able to be born not into a doomed world but into one where change, though slow, is possible.
Forest Head, satisfied that humanity is at least willing to try, lifts the enchantment on the forest. As the living characters emerge, they find themselves back in their world, but forever changed. The play ends with a festival where history is neither glorified nor erased but understood. The people sing, not in blind celebration, but in cautious hope.
This alternative ending retains Soyinka’s critique of post-independence Nigeria but offers a stronger possibility of progress, emphasizing that true change requires action, not just recognition.
A Note on 'A Dance of the Forests'
Wole Soyinka’s A Dance of the Forests is one of the most complex and symbolically rich plays in African literature. Written for Nigeria’s independence celebrations in 1960, the play does not offer a simple, triumphant vision of the future. Instead, it critiques the new nation’s failure to confront its historical injustices and warns against repeating the mistakes of the past.
Themes and Issues
Cyclical Nature of History
One of the play’s central themes is the cyclical nature of history. Soyinka suggests that simply gaining independence does not mean true freedom. The living characters Demoke, Rola, and Adenebi represent different aspects of society, all of whom must reckon with their past actions before they can move forward. The presence of the Dead Man and Dead Woman, spirits from the past, highlights the idea that history cannot be ignored. This aligns with the views of Frantz Fanon, who argued that decolonization is not just about removing colonial rulers but about fundamentally transforming society.
Another key theme is the role of the artist in society. Demoke, the carver, symbolizes the responsibility of the artist to tell the truth, even at personal cost. His struggle with guilt over his apprentice’s death represents the moral dilemmas that come with creation. This theme is echoed in other African works, such as Chinua Achebe’s Things Fall Apart, where Okonkwo’s downfall stems from his rigid adherence to traditional values, failing to adapt to a changing world.
Soyinka also critiques corruption and the abuse of power. Rola, once a courtesan who used her influence for personal gain, and Adenebi, a bureaucrat who turns a blind eye to suffering, reflect the self-serving tendencies of Nigeria’s new ruling class. This critique is similar to Ngugi wa Thiong’o’s A Grain of Wheat, which explores the disillusionment of post-independence Kenya.
Structure and Style :
The play does not follow a traditional Western dramatic structure. Instead of a clear beginning, middle, and end, A Dance of the Forests moves fluidly between past and present, dream and reality. This mirrors the Yoruba worldview, where time is not strictly linear. The use of masquerade, dance, and ritual connects the play to traditional African performance arts, making it more than just a text but an immersive experience.
Soyinka’s language is rich and poetic, sometimes difficult to decipher. However, this complexity serves a purpose: it challenges the audience to engage deeply with the material. His style is reminiscent of T.S. Eliot’s Murder in the Cathedral, which also blends poetry and drama to explore themes of fate and free will.
Complexity and Critical Reception :
Soyinka’s play is difficult to understand, and many critics have struggled to categorize it. The play does not have a single plotline or a central character, making it different from most other plays. Critics like Derek Wright have described it as
“the most uncentered of works, there is no discernible main character or plot line, and critics have been at a loss to say what kind of play it is or if it is a play at all and not a pageant, carnival or festival”
Because of this complexity, it has not been performed often. Adebisi Ademakinwa also observed that A Dance of the Forests has “enjoyed more neglect since it was written than any other of his (Soyinka’s) plays”. This shows that the play is not widely staged or analyzed because of its difficult style.
Dystopian vs. Utopian Vision :
Most works of literature about independence show the past as glorious, the present as troubled, and the future as hopeful. However, Soyinka does the opposite. He shows that the past was full of mistakes and corruption, the present is no better, and the future will also be bleak.
“What Wole Soyinka depicts is a dystopian past as well as a dystopian present and future”. This means that he does not believe in an ideal past or a bright future. Instead, he shows that human nature is flawed and that people continue to make the same mistakes over and over again.
What is negritude ? Why Soyinka rejects ?
Soyinka also rejects the idea of négritude, which glorifies Africa’s past. Instead of presenting a golden age, he argues that history is full of wars and suffering. The article says, “Soyinka rejects négritude’s glorification and idealization of the African past”. He believes that Africans should not look at their past with pride if they do not learn from its mistakes.
“The atrocities committed by the actors in the Court of Mata Kharibu eight centuries earlier are repeated by their reincarnated selves under different circumstances in the present world”. This means that the people in the play are repeating the same wrongdoings in different ways, showing that history continues to repeat itself.
Themes of the Play :
1. The Cycle of Human Atrocities
Soyinka’s play argues that people do not change. They keep making the same mistakes, and history repeats itself. “Glenn A. Odom observes that what is revealed in this play of Soyinka is that ‘the future will continue to repeat the present’”. This means that the bad things happening today will happen again in the future if people do not learn from the past.
One of the most important lines in the play is spoken by the Dead Woman, who says, “A hundred generations has made no difference”. This shows that even after many years, people still behave in the same corrupt and selfish ways. This theme is reinforced by the fact that the characters in the play are reincarnations of their past selves, yet they continue to commit the same crimes.
2. Corruption and Betrayal
The play also highlights corruption and betrayal. Many of the characters in both the past and present are selfish and cause harm to others. One example is Adenebi, who was a historian in the past but encouraged war, saying, “War is the only consistency that past ages afford us”. In the present, he is a corrupt government official responsible for the deaths of 65 passengers because he approved an overloaded lorry.
Another example is Rola, also known as Madam Tortoise. In the past, she was a queen whose actions led to the deaths of the Dead Man and Dead Woman. The article states, “She is in fact likened to Helen of Troy since it is her prostitution that caused the war” . In the present, she is still a prostitute who destroys the lives of her lovers. These characters show that corruption and selfishness continue across generations.
Symbols and Structural Elements
1. The Dead Man and Dead Woman
These two spirits are sent by the supreme god, Forest Father, instead of legendary ancestors. They symbolize how the past haunts the present. The article explains, “Instead of legendary ancestors, Forest Father/Head—the supreme divinity in Soyinka’s fictionalized world, sends the living ‘two spirits of the restless dead’ referred to in the play as Dead Man and Dead Woman” . This means that instead of celebrating their past, the people must face the consequences of their history.
2. The Totem and Demoke’s Sacrilege
Demoke, a carver, is chosen to create a totem to unite the people. However, instead of carving a symbol of unity, he chooses to cut down araba, a sacred tree, which angers the gods. This act symbolizes how humans destroy what is sacred and create conflict instead of harmony.
“Demoke’s action of carving araba (Oro’s sacred tree) is not just a sacrilege against the sacred tree, but also an affront against Eshu (the Devil himself) who lives in the tree” . This means that Demoke’s actions are not only a crime against nature but also a challenge to a powerful spiritual force.
A Warning Rather Than a Prophecy
Even though the play presents a dark vision of the past, present, and future, Soyinka does not say that disaster is certain. Instead, he warns that if people do not change, bad things will continue to happen. The article states, “By painting a dystopian past and present, and forecasting a gloomy future, Soyinka warns that the mistakes of the past and the present should be avoided for a better future” . This means that people still have a chance to change if they recognize their mistakes.
The supreme god, Forest Father, also expresses hope, saying, “hoping that when I have tortured awareness from their souls, that perhaps, only perhaps, in new beginnings…”. The unfinished sentence suggests that there is still a chance for change, but it depends on human actions.
“Despite the acknowledgment of his ineffectuality in the affairs of the human community, Forest Father still hints at a ‘post-apocalyptic hoping’ that is informed by the lessons of the past”. This means that even though the situation looks hopeless, there is still a possibility for improvement if people learn from history.
Conclusion
Wole Soyinka’s A Dance of the Forests is not just about Nigeria but about humanity as a whole. It shows how history repeats itself because people refuse to learn from their mistakes. The play is full of symbols and complex storytelling, making it difficult to analyze. However, its message is clear: if people do not acknowledge their past, they will continue to make the same mistakes.
Through his dark vision, Soyinka warns that the future can be different only if people change their ways. The play challenges audiences to reflect on their own society and take responsibility for their actions.
Here I am again with another existential book's review.
When I first read The Setting Sun by Osamu Dazai, I felt a deep sadness. The story is about a family that was once rich and respected but now struggles to survive. It made me think about how life can change so quickly, and how difficult it is to accept that things will never be the same again.
The novel is told from the perspective of Kazuko, a 29-year-old woman who used to belong to an aristocratic family. She once had a comfortable life, but now, after World War II, everything is different. Her father has died, her brother Naoji is missing, and she and her mother have lost their wealth. They can no longer afford to live in Tokyo, so they move to the countryside.
Kazuko tries to adjust to her new life, working in the fields and calling herself a "coarse woman." But deep down, she feels lost. She remembers the past, when life was easier, and struggles to accept the present. Her mother, who represents the old aristocratic values, refuses to believe that their way of life is truly over. She still acts with grace and dignity, even though they are now poor.
Then, one day, Naoji returns. But he is not the same. He was once a bright and hopeful young man, but now, he is addicted to opium and drinks too much. He is cruel to his mother and sister and spends most of his time with writers and intellectuals in Tokyo. Kazuko finds his Moonflower Journal, where he writes about his pain, his addiction, and his disappointment with the world. His words are full of sadness and anger. He feels trapped between his aristocratic past and the new society that no longer respects people like him.
"The more I regretted, the more certain it seemed that the future had in store for us only horrible, evil things."
Naoji’s words made me think about how hard it is to let go of the past. He sees no future for himself, and instead of trying to move forward, he chooses self-destruction. His suffering is painful to read because it feels so real.
One of the biggest themes in the book is waiting. Kazuko, Naoji, and their mother are all waiting—for something to change, for happiness to return, for a future that may never come. Kazuko even says:
"To wait. In our lives we know joy, anger, sorrow and a hundred other emotions, but these emotions all together occupy a bare one percent of our time. The remaining ninety-nine percent is just living in waiting."
This line really stayed with me. It made me wonder how much of my own life is spent waiting for things to get better instead of taking action.
As the story continues, Kazuko writes letters to Uehara, a novelist who was once a friend of her brother. She tells him that she loves him and wants to have his child, even though she knows he is an alcoholic. She dedicates her letters to M.C., which she first calls "My Chekhov" and later "My Child." She believes that by having a child, she can create a new life, free from the old traditions and restrictions.
But Uehara does not respond. This silence makes Kazuko’s loneliness even deeper. She is searching for something to give her life meaning, but no one seems to care.
Meanwhile, her mother becomes sicker and is diagnosed with tuberculosis. Kazuko takes care of her, but she knows that death is coming. One day, she sees a black snake on the porch. She remembers that when her father died, there were snakes everywhere. Snakes, in this story, seem to be a sign of death and misfortune. Not long after, her mother dies.
This moment was heartbreaking for me. Her mother, who always tried to hold on to the old ways, is now gone. Kazuko is truly alone.
Then, the worst happens Naoji takes his own life. He leaves a letter for Kazuko, explaining his reasons. He says he cannot escape his aristocratic background, and he feels weak. He rejects all ideologies capitalism, communism, aristocracy because he believes they all suppress the individual. He sees no place for himself in the world.
"Life is too painful, the reality that confirms the universal belief that it is best not to be born."
Reading this line, I felt a deep sadness. Naoji could not find a way to survive, and instead of fighting, he gave up. His death is a powerful moment in the novel, showing the ultimate cost of despair.
But unlike Naoji, Kazuko does not give up. She finally meets Uehara, and she becomes pregnant with his child. In her final letter, she tells him that she will raise the child alone. She no longer believes in the old morality and wants to create her own way of life. She calls Uehara M.C. one last time, but now it means "My Comedian." This change shows that she no longer sees him as a great figure in her life just another flawed human being.
Kazuko’s decision is powerful. She refuses to let the past control her, and she chooses to move forward, even if it means going against society’s expectations.
The Setting Sun is a sad and emotional novel. It made me think about how difficult it is to accept change, how easy it is to fall into despair, and how hard it is to move forward. Osamu Dazai’s writing is simple but powerful, making me feel the loneliness and pain of his characters.
Kazuko’s journey is one of survival. She loses everything her wealth, her family, and her old way of life. But in the end, she makes a choice to live on her own terms. Her story is tragic, but it also has a sense of hope.
Naoji’s story, on the other hand, is heartbreaking. He cannot escape his past, and his despair leads him to destruction. His words, full of sadness and frustration, stayed with me long after I finished the book.
One of the most thought-provoking lines in the novel is:
"Learning is another name for vanity. It is the effort of human beings not to be human beings."
This made me question whether knowledge truly helps people or only makes life more complicated. Naoji, Uehara, and the other intellectuals in the book seem to suffer because they understand the world too well.
In the end, The Setting Sun is a story about loss, survival, and change. It is about how hard it is to move forward when everything around you is falling apart. But it is also about the power of choice. While Naoji chooses death, Kazuko chooses life. This contrast makes the novel even more impactful.
This book left a deep impression on me. It made me reflect on my own life, my struggles, and how I deal with change. It is not just a story about post-war Japan it is a story about human emotions, something that everyone can relate to.
This blog is the part of worksheet activity assigned by Dilip sir of the paper Conteporary Literature unit The Only Story. A worksheet for postgraduate students on using ChatGPT in analyzing Julian Barnes's
novel "The Only Story".
For detailed objectives of the worksheet visit Teacher's blog.
1. Explain the quotation from Julain Barnes’s novel ‘The Only Story’:
“Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question. You may point out – correctly – that it isn’t a real question. Because we don’t have the choice. If we had the choice, then there would be a question. But we don’t, so there isn’t. Who can control how much they love? If you can control it, then it isn’t love. I don’t know what you call it instead, but it isn’t love.”
This quote from Julian Barnes’s The Only Story questions the nature of love and suffering. It presents a dilemma: is it better to love deeply and suffer more, or to love less and suffer less? At first, it seems like a choice, but the narrator quickly dismisses that idea because love isn’t something we can control. If we could choose how much to love, then it wouldn’t truly be love. Love, by its nature, is unpredictable and overpowering.
Paul’s story is proof of this. He falls for Susan despite the consequences. Their love is passionate but leads to pain, regret, and suffering. He could not have stopped himself from loving her, nor could he have controlled how much he felt for her. His suffering was inevitable.
The novel challenges the romanticized idea that love is always beautiful and fulfilling. Instead, it shows how love often brings destruction, guilt, and loss. Paul’s love for Susan is not just about joy; it is about responsibility and the weight of choices. Barnes reminds us that love is not logical it cannot be measured or limited. If we could control love, it would lose its meaning.
2. Who is Uncle Humphrey? How / why is this minor character significant in the novel?
Uncle Humphrey is a minor but profoundly significant character in The Only Story. He is Susan’s uncle, who sexually abused her during her childhood and adolescence. Though he appears only in her recollections, his presence has left a lasting scar on her life. His abuse, described in disturbing detail, contributes to Susan’s emotional detachment, her struggles with intimacy, and possibly even her dependence on alcohol.
His significance lies in how his actions shaped Susan’s worldview. She expresses deep cynicism, saying, “There isn’t any justice, here or anywhere else.” This suggests that her early experiences with abuse made her lose faith in fairness, love, and the idea of a moral order. Her remark about the afterlife imagining Uncle Humph forever winning at bridge and demanding “party kisses” shows how his presence haunts her even in death.
Uncle Humphrey also represents a broader theme in the novel: the long-lasting effects of trauma.
While Paul initially romanticizes Susan’s tragic life, he eventually realizes that she carries burdens too deep for love to fix. The novel subtly hints that her drinking and emotional struggles might be rooted in this childhood violation. Though Paul dismisses Uncle Humphrey from his mind, Susan never fully escapes his shadow.
3. While applying Gerard Genet’s tool of ‘Duration’ in narratology, how can we explain the narrative time and discourse time in Julian Barnes’s ‘The Only Story’?
Here’s how Gérard Genette’s concept of duration applies to The Only Story, using narrative time (the time events occur in the story) and discourse time (how the story is told):
Aspect
Narrative Time (Story Time)
Discourse Time (Narration Time)
Overall Timeframe
Spans about 50 years of Paul’s life
Paul narrates from an older perspective, reflecting on past events
Chronology
Begins with Paul’s youthful affair with Susan and moves through her decline
The narrative is non-linear, shifting between past and present reflections
Speed of Narration
Some periods, like Susan’s decline, take place over years
Certain moments (Paul and Susan’s early romance) are detailed, while others (her later years) are summarized
Ellipsis (Omission of Time)
Large gaps in time, such as after Paul leaves Susan
The novel skips years, condensing decades into brief reflections
Scene (Real-Time Representation)
Key conversations, romantic moments, and arguments are depicted in detail
Dialogue and inner thoughts slow down time, making some moments more immersive
Summary (Condensed Time)
Paul summarizes his later years and Susan’s illness
Events spanning years are narrated in a few sentences
Repetitive Narration
Some events, like Susan’s suffering, are revisited multiple times
Paul repeatedly reflects on his relationship, reinforcing his emotional turmoil
Barnes plays with time to show Paul’s shifting perspective his youthful idealism, middle-aged detachment, and older self’s regret all through variations in narrative duration.
4. Write brief note on the narrative pattern with its thematic & postmodernist significance:
Significant Point in Narrative Pattern
Thematic & Postmodernist Significance
First-Person Retrospective Narration
Paul, as an older narrator, reflects on his past, showing memory’s unreliability—aligning with postmodernist skepticism about objective truth.
Fragmented and Non-Linear Structure
The story does not follow a chronological order, reflecting the chaotic nature of memory and reinforcing the idea that love and suffering cannot be neatly structured.
Shift from First-Person to Second and Third-Person
Paul’s movement from "I" to "you" and "he" signals emotional detachment, showing how love transforms and distances over time. This also aligns with postmodernist play with perspective and self-awareness.
Blending of Romance and Tragedy
Challenges traditional love narratives—suggesting that love is more about suffering than fulfillment, subverting romantic ideals.
Use of Repetition and Reflection
Certain events and phrases are revisited, mirroring how memory distorts and how trauma lingers, reinforcing postmodernist concerns with subjectivity.
Intertextual References and Philosophical Reflections
The novel engages with existential and philosophical questions (e.g., "Would you rather love more and suffer more?"), emphasizing uncertainty and lack of absolute answers—a key postmodern trait.
Overall, the narrative pattern reflects postmodernist themes of memory’s instability, love’s destructiveness, and the impossibility of objective truth, making the novel a meditation on human emotions and the ways we construct and reconstruct our past.
5. Is Julian Barnes’s ‘The Only Story’ more on suffering than on love? Explain with the help of Greek etymological meaning of ‘passion’ which means ‘suffering’.
Julian Barnes’s The Only Story is more about suffering than love, as it explores the painful consequences of deep emotional attachment. The Greek root of ‘passion’ (πάσχω, pascho) means ‘to suffer,’ highlighting how love often brings pain rather than joy. Paul’s love for Susan leads to heartbreak, helplessness, and regret rather than fulfillment. His passion becomes a burden, mirroring tragic love stories from literature and mythology. Instead of an idealized romance, the novel presents love as a force that consumes and damages, proving that the intensity of love often comes with unbearable suffering.
6. How would you prove that Julian Barnes’s ‘The Only Story’ is a memory novel?
Important Point in the Trajectory
Illustrations from the Novel
Narration from Paul’s Older Self
The novel is told from the perspective of an older Paul, who reflects on his youthful love affair with Susan.
Shift from First to Second and Third Person
Paul starts narrating in the first person but later shifts to the second and third person, showing his emotional distance from the past.
Selective and Unreliable Memory
Paul admits that memory reshapes events, making his recollections subjective rather than factual.
Repetitive Reflection on Love and Suffering
The novel continuously revisits key moments, emphasizing how memories shape one’s understanding of love and loss.
Fragmented and Non-Linear Narrative
The novel does not follow a strict chronological order but jumps between different phases of Paul’s life, mirroring how memory works.
Nostalgia and Regret
Paul looks back with both fondness and sorrow, questioning the choices he made and the inevitability of suffering in love.
This structure highlights how The Only Story functions as a memory novel, reconstructing the past through an introspective and fragmented lens.
7. How do you explain ‘rescue fantasy’?
The concept of a "rescue fantasy" refers to a psychological trope where a person typically a man believes they can "save" a woman from her difficult circumstances, often romanticizing the idea of being her savior. This fantasy is deeply rooted in fairy tales, classical myths, and cultural narratives where male heroes rescue helpless women from distress, often leading to romantic or sexual relationships.
In The Only Story, Paul initially dismisses the idea of a "rescue fantasy" , believing that his relationship with Susan is not based on illusion but on "rescue reality." Unlike mythical figures or Marilyn Monroe whom men wanted to "rescue" only to possess Susan had no other saviors waiting for her. Paul genuinely believed he was the only one who could free her from her unhappy marriage. However, as the novel progresses, it becomes clear that his attempt to "rescue" Susan ultimately fails. Rather than saving her, he becomes overwhelmed by her struggles, leading to his own suffering and disillusionment.
Barnes critiques the "rescue fantasy" by showing that love based on the desire to save someone is neither sustainable nor truly heroic. Instead, it often leads to greater suffering for both individuals involved.
1. Analyze the context of the following quote: "Why do you cheat at crosswords?"
Analysis of the Context: "Why do you cheat at crosswords?"
Question
Answer
a. Who is the speaker and to whom is this question addressed?
Paul asks this question to Joan, Susan’s friend.
b. What is the response given by the recipient?
Joan responds with laughter and explains that after experiencing great suffering, she realizes that nothing truly matters. Cheating at crosswords, to her, is insignificant because she has "been to hell and back already." However, she draws a distinction looking at the answers in the back of the book would be real cheating.
c. Is the reference to "cheating at crosswords" repeated in the novel?
The phrase itself is not frequently repeated, but it serves as a metaphor for Joan’s outlook on life her cynicism, her disillusionment, and her attempt to find small acts of rebellion in a meaningless world.
d. What inferences can be drawn from this reference?
The conversation highlights Joan’s philosophy of life, shaped by suffering. Her explanation suggests a deep resignation, where she has lost faith in traditional morality or justice. The distinction she makes about what constitutes real cheating reflects a personal code of ethics in a world she sees as indifferent. Additionally, this moment foreshadows Paul’s own journey toward disillusionment and suffering, showing how the characters deal with pain in different ways.
2. Investigate the symbolic significance of ‘crosswords’ in the novel "The Only Story."
In Julian Barnes's "The Only Story," crosswords serve as a multifaceted symbol reflecting the complexities of life and relationships. Joan's habit of cheating at crosswords illustrates a coping mechanism for life's perceived meaninglessness, suggesting that in a world where "nothing fucking matters," bending trivial rules becomes inconsequential. This act underscores themes of existential despair and the search for control in an unpredictable world. Additionally, crosswords represent the intricate and often puzzling nature of human relationships. Just as solving a crossword requires deciphering clues and finding the right fit, navigating relationships involves understanding and connecting disparate pieces of human experience. The novel's narrative structure, with its fragmented memories and shifting perspectives, mirrors the process of piecing together a crossword puzzle, highlighting the challenges of making sense of past events and emotions. Thus, crosswords encapsulate the novel's exploration of memory, meaning, and the human condition.
3. Analyze the following quote in the context of the novel: "The point of the story is 'safe and capable.'"
Analysis of the Quote: "The point of the story is 'safe and capable.'"
(a) Speaker and Addressee:
The quote is spoken by Susan Macleod and addressed to Paul, the narrator and protagonist of the novel.
(b) Significance within the Context of the Story:
Susan’s remark, “The point of the story is ‘safe and capable,’” encapsulates a central theme of the novel: the contrast between youthful romantic idealism and the harsh realities of love. Paul, as a young man, believes in passionate, transformative love, whereas Susan, with her life experiences, understands the necessity of stability and reliability in relationships.
Her words reflect her pragmatic approach—having endured an unhappy marriage, she values emotional security over romantic intensity. For Paul, however, this idea is elusive, as he is driven by an idealistic notion of love. The phrase also foreshadows the novel’s shift in tone, as Paul gradually realizes that love often leads to suffering rather than fulfillment. Ultimately, this moment underscores the novel’s meditation on love, loss, and the disillusionment that accompanies growing up.
4. Evaluate the use of the phrase "moviemaker's bromide" in the novel "The Only Story."
Evaluation of the Phrase "Moviemaker’s Bromide" in The Only Story
(a) Frequency of Use in the Novel:
The phrase "moviemaker’s bromide" appears twice in The Only Story.
(b) Situations When the Phrase Appears:
During Paul’s Reflection on Redemption: Paul dismisses the idea of redemption as too simplistic and cinematic something that movies often present as a satisfying resolution, whereas real life is far messier and unresolved.
During Paul’s Final Goodbye to Susan: Paul considers kissing Susan as a dramatic farewell but recognizes that such a moment belongs more to a movie cliché than real life. Instead, reality is mundane his mind drifts to trivial matters like petrol and cheese sales.
(c) Significance within the Context of the Story:
The phrase critiques the artificiality of idealized love and closure often depicted in films. Paul acknowledges that life does not offer neatly tied endings—love does not necessarily lead to redemption, nor does parting always come with grand emotional gestures. Instead, real emotions are fragmented, unpredictable, and often interrupted by mundane concerns.
By using this phrase, Barnes reinforces the postmodernist theme of deconstructing romanticized narratives, showing that love is not a fairy tale but a complex, often painful, and unresolved experience.
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