I recently had the opportunity to read "Marriage of a Thousand Lies" by SJ Sindu and hear explanations of her work by Sindu herself. I found the book extremely interesting and was especially fascinated with how Sindu talked about rebellion. She talked about how she provided the main character with sisters to play against, who took different paths in life. One is in an arranged marriage, and one is off living a free, albeit disconnected life. The two sisters are both satisfied with their lives surprisingly, and I enjoy this part of the book because it provides us with a little complexity. A lot of writers taking on the subject of rejecting traditional norms would only cast an arranged marriage in a cold light, but Sindu chose to make it a successful relationship to give the impression that there are a variety of paths in life, not just two (the right and the wrong). One might choose not to rebel, but to bend to their society or parent's will, and still have a fulfilling life and relationship. Some may not as well, and some could be happy in either state of rebellion. In the end of the book Lucky, the main character, does not end up together with Nisha, her same-sex counterpart. Instead, Nisha agrees to a traditional marriage and Lucky is still married to her (gay) husband. I think this is especially daring for the author because it makes the story more about it's portrayal of societal norms and character, rather than relying on giving the reader what they want to see. It's a book that makes a statement; a statement that sometime rebellion isn't possible, and a statement that life is complicated, especially in cultures and societies that work against what as individuals we believe or feel is right. In the end, we should please ourselves and follow our own path regardless of others, but we are still subject to fate. We don't control our destinies, but we can guide it in the direction we think we will fit within most.
In the book "Cosmopolis" by Don Delillo, Eric Packer is a ludicrously rich head of a financial firm who rides around in his limousine all day on his way to get a haircut. Outside the vehicle, the world around him rages and writhes in turmoil. People fill the streets protesting capitalism, but all Packer feels is amusement. This lack of empathy is a symptom of Eric's privilege. His privilege is a trait he has built upon with every dollar he's gained and luxury he's bought. Every ordinary event and interaction is now seen through new eyes; ones less attuned to the hearts of those struggling to get by. He sees the events around him as a spectacle, and uses the windows of the limo not only as a protective shell but also as a socioeconomic disconnect from the world around him. To Packer, everything he sees through the window is a stage set for him to interpret at his leisure, and only those he rides with are the selected audience members. One such audience member is Sh...
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