Culture plays an important role in Banana Yoshimoto 's Kitchen and Arundhati Roy 's The God of Small Things. Both authors incorporate key experiences that are native to the setting of each novel. In Kitchen, readers are exposed to the cultural significance of food and the sense of isolation that many citizens of Tokyo felt in the 1980 's due to the generally fast-paced lifestyle. Arundhati Roy emphasizes the impact of the communist movement in Kerala, India during the late 1960 's and the small agriculturally-oriented economy. By exposing readers to culture of Tokyo and Ayemenem; Bannana Yoshimoto and Arundhati Roy shed light on societal norms. Each author challenges these societal norms through the characterization of the two main protagonists
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Surprisingly, these protagonists are strikingly similar in the ways with which they diverge from cultural norms. The most apparent resemblance can be found in the structure of the relationship between Rahel and Estha and the relationship between Mikage and Yuichi. Both of these relationships are “blurred” because they could be seen as a connection between brother and sister or a connection between lovers at different points in time. All four characters are condemned because of the dynamics of their relationship. Death is a recurring topic in Kitchen and The God of Small Things. Banana Yoshimoto and Arundhati Roy explore the grief through the development of their characters and they challenge what actions are deemed “appropriate” when grieving. Family is an important subject in Kitchen and The God of Small Things, Banana Yoshimoto and Arundhati Roy defy the “typical” family structure and make this difference known as their characters …show more content…
Both authors emphasize the atypical family structure through the development of their main characters. As Mikage comes out of mourning, she assimilates into the Tannabe family. Her relationship with Eriko changes from a tenant and a gaurdian, to a daughter and a mother. Mikage 's relationship with Yuichi changes as well, she considers him to be a brother and lover rather than a distant friend. After Yuichi 's mother dies, Eriko decides to become a woman. As a child, Yuichi identifies Eriko to be his father, as he grows older, Yuichi sees Eriko as a mother and friend. To know surprise, the Tanabe family structure is frowned upon because Eriko “turned his back on the debt of gratitude he owed his foster [family]” (Yoshimoto 14). As Rahel and Estha grow they learn to be ashamed of their family. When Sophie Mol and Margaret Kotchama travel to Ayemenen, Ammu, Chacko, Mammachi, and Baby Kochama all put on an act to make the family seem better than they really are. Rahel notices that during Sophie Mol and Margaret Kochama 's visit “She [is] in a play. But she only had a small part” (Roy 164). Rahel and Estha 's family put on an act because they realize that society frowns on their family. The adults fall into the demands of society and they become embarrassed. Ammu divorced Rahel and Estha 's father, because of this, the twins are seen as “doomed, fatherless
Surprisingly, these protagonists are strikingly similar in the ways with which they diverge from cultural norms. The most apparent resemblance can be found in the structure of the relationship between Rahel and Estha and the relationship between Mikage and Yuichi. Both of these relationships are “blurred” because they could be seen as a connection between brother and sister or a connection between lovers at different points in time. All four characters are condemned because of the dynamics of their relationship. Death is a recurring topic in Kitchen and The God of Small Things. Banana Yoshimoto and Arundhati Roy explore the grief through the development of their characters and they challenge what actions are deemed “appropriate” when grieving. Family is an important subject in Kitchen and The God of Small Things, Banana Yoshimoto and Arundhati Roy defy the “typical” family structure and make this difference known as their characters …show more content…
Both authors emphasize the atypical family structure through the development of their main characters. As Mikage comes out of mourning, she assimilates into the Tannabe family. Her relationship with Eriko changes from a tenant and a gaurdian, to a daughter and a mother. Mikage 's relationship with Yuichi changes as well, she considers him to be a brother and lover rather than a distant friend. After Yuichi 's mother dies, Eriko decides to become a woman. As a child, Yuichi identifies Eriko to be his father, as he grows older, Yuichi sees Eriko as a mother and friend. To know surprise, the Tanabe family structure is frowned upon because Eriko “turned his back on the debt of gratitude he owed his foster [family]” (Yoshimoto 14). As Rahel and Estha grow they learn to be ashamed of their family. When Sophie Mol and Margaret Kotchama travel to Ayemenen, Ammu, Chacko, Mammachi, and Baby Kochama all put on an act to make the family seem better than they really are. Rahel notices that during Sophie Mol and Margaret Kochama 's visit “She [is] in a play. But she only had a small part” (Roy 164). Rahel and Estha 's family put on an act because they realize that society frowns on their family. The adults fall into the demands of society and they become embarrassed. Ammu divorced Rahel and Estha 's father, because of this, the twins are seen as “doomed, fatherless