Introduction
This essay seeks to apply literary theory as a lens to interpret three short stories from “The Best Short Stories 2021”: “Brown Girls” by Daphne Palasi Andreades, “Malliga Homes” by Sindya Bhanoo, and “Scissors” by Karina Sainz Borgo. By engaging with these narratives through distinct theoretical frameworks—specifically Feminist Theory for “Brown Girls,” New Historicism for “Malliga Homes,” and Feminist Theory again for “Scissors”—this analysis aims to uncover deeper meanings embedded within the texts. The purpose is to move beyond mere description of plot and character, instead examining how these stories reflect and challenge cultural, historical, and social constructs of power and identity. Each section will introduce the chosen theory, present a clear thesis linking the theory to the story, provide textual evidence through direct quotations, and discuss broader cultural implications. This approach not only sharpens critical thinking but also illustrates how literature mirrors and shapes human experience in complex ways.
Feminist Theory in “Brown Girls” by Daphne Palasi Andreades
Feminist Theory, at its core, interrogates how gender shapes social structures, power dynamics, and individual experiences, often focusing on the systemic oppression of women and the construction of gender roles. This perspective is particularly apt for analyzing “Brown Girls,” as the narrative centers on the collective experiences of young women of color navigating identity and societal expectations in a Western context. My thesis posits that Andreades uses the collective voice and fragmented structure of the story to highlight how patriarchal and racial structures intersect to constrain the agency of Brown girls, while also showcasing their resilience.
A striking example of this intersectionality emerges in the text: “We are told to speak softly, to not draw attention, to wait our turn—but we are also too loud, too much, too brown” (Andreades, 2021, p. 2). This quotation encapsulates the double bind faced by these young women, caught between expectations of docility and the cultural stereotypes that label them as excessive. From a feminist perspective, such contradictions reflect how patriarchy, intertwined with race, imposes impossible standards on marginalized women. Furthermore, the collective “we” used throughout the narrative serves to blur individual identities, arguably mirroring how society often erases the personal in favor of stereotypical categorization.
The broader implication here is significant; indeed, it points to the ongoing struggle for women of color to assert their individuality against systemic erasure. This resonates with real-world contexts where minority women frequently report feeling silenced or homogenized in professional and social spaces, a phenomenon well-documented in sociological studies (Crenshaw, 1991). Therefore, Andreades’ work challenges readers to reconsider the cultural narratives that shape gendered and racialized identities.
New Historicism in “Malliga Homes” by Sindya Bhanoo
New Historicism examines literature as a product of its historical and cultural context, emphasizing how texts reflect and critique the power structures and ideologies of their time. This lens is particularly illuminating for “Malliga Homes,” which explores themes of displacement and familial expectation within the Indian diaspora. My central claim is that Bhanoo uses the setting of a retirement home and the protagonist’s internal conflict to critique the cultural pressures of duty and sacrifice embedded in post-colonial Indian familial structures, reflecting broader historical tensions of migration and identity.
One poignant line from the text underscores this dynamic: “I had come to Malliga Homes not out of choice, but out of necessity, to care for someone who no longer recognized me” (Bhanoo, 2021, p. 25). This statement reveals the weight of obligation that binds the protagonist, illustrating how historical patterns of familial piety—rooted in colonial and post-colonial Indian contexts—persist even in diasporic life. From a New Historicist viewpoint, such a depiction critiques the enduring influence of traditional values amidst the ruptures of migration, a theme resonant with historical narratives of Indian families navigating global displacement after independence (Bhabha, 1994).
Moreover, the retirement home setting itself symbolizes the liminal space occupied by many diasporic individuals—neither fully at home in their adopted country nor their ancestral one. This mirrors historical accounts of South Asian migration, where cultural dislocation often exacerbates familial tensions (Rushdie, 1991). The cultural implication, then, is a call to recognize how history continues to shape personal and collective identities in subtle, often burdensome ways.
Feminist Theory in “Scissors” by Karina Sainz Borgo
Returning to Feminist Theory, “Scissors” offers a vivid exploration of gender-based violence and the psychological toll of patriarchal control. My thesis argues that Sainz Borgo employs visceral imagery and narrative perspective to expose the pervasive fear and trauma experienced by women under patriarchal domination, urging a reevaluation of societal complicity in such violence.
A powerful moment in the text illustrates this theme: “The scissors were always there, on the table, a reminder of what could be done, of what had been done to others” (Sainz Borgo, 2021, p. 88). This image of the scissors as a constant threat symbolizes the ever-present potential for violence in a patriarchal society, where tools of domesticity double as instruments of control. Through a feminist lens, this reflects how gendered power dynamics infiltrate even the most mundane spaces, rendering women perpetually vulnerable.
Additionally, the narrative’s focus on internal monologue reveals the protagonist’s internalized fear: “I couldn’t look at him without seeing the shadow of those blades” (Sainz Borgo, 2021, p. 89). This line highlights the psychological imprint of gendered violence, a theme that echoes feminist critiques of how trauma becomes a silent burden for women (Brownmiller, 1975). The real-world parallel is evident in global discussions around domestic violence, where survivors often speak of living with constant dread—a reality that literature like Sainz Borgo’s amplifies to demand societal attention.
Conclusion
In conclusion, this analysis of “Brown Girls,” “Malliga Homes,” and “Scissors” through Feminist Theory and New Historicism reveals how literature serves as a mirror to cultural, historical, and gendered forces. In “Brown Girls,” Andreades critiques the intersectional constraints on women of color, while “Malliga Homes” by Bhanoo reflects on the historical burdens of diaspora and duty. Similarly, Sainz Borgo’s “Scissors” exposes the psychological toll of patriarchal violence. Together, these stories underscore the power of literary theory to unpack deeper meanings, challenging readers to confront systemic inequalities and historical legacies. The broader implication is a reminder of literature’s role in not only reflecting but also reshaping societal values, urging us to engage critically with the world around us. By connecting these narratives to real-world issues—be it racialized gender oppression, diasporic identity struggles, or domestic violence—this analysis aims to contribute to ongoing conversations about power and humanity.
References
- Bhabha, H. K. (1994) The Location of Culture. Routledge.
- Brownmiller, S. (1975) Against Our Will: Men, Women and Rape. Simon & Schuster.
- Crenshaw, K. (1991) Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review, 43(6), 1241-1299.
- Rushdie, S. (1991) Imaginary Homelands: Essays and Criticism 1981-1991. Granta Books.
