Sexy: Style is...
Melody
What is style, anyway?
Style is the language used by the author. Lahiri uses relatively simple words. In Sexy, archipelago is probably the most difficult vocabulary word. Nonetheless, her descriptions have a flowery note to them, such as, "where soaps and creams were displayed like jewels, and eye shadows and powders shimmered like butterflies pinned behind protective glass."
Style is the choice of characters, and their depth and manner of development. Miranda is obviously the most developed. We learn about her work life, her forays to Filene's, her limited view of the world, her childhood, other relationships, etc. Lahiri obviously knows much more about the world than the character she has created (such as the Gramin Bank), and shows this in a loving, non-judgmental manner. The other main characters, Laximi, Dev, and Rohin, are not quite as fleshed out, although their actions and words are telling (especially Rohin's banter).
Style is the pace of the story, the rate at which we are introduced to key details, and the rate at which the conflict is resolved. We start the story with an attention grabbing line, "It was a wife's worse nightmare," just before we hear about Laximi's cousin's affair. On the next page, we get some clues that Miranda is in a relationship with an Indian man, but we don't yet know the nature (although our protagonist, Miranda, is aware). The story then flows seamlessly into how Miranda and Dev met, providing us with more background. We dive into their steamy affair. Then the tension of only seeing Dev for stolen moments on Sunday mornings. Then the day with Rohin marks a changing point, but it isn't until the very last paragraph of the story when the conflict is finally resolved. Style is also the way the author interplays dialogue, exposition, description, inner dialogue, and background.
Style is the way that the characters' story arcs intersect. Are there any "unnecessary characters? In Sexy, the story begins with Laximi, who is there to show Miranda's limited introduction to Indians, and a perspective of how her and Dev's relationship might look from the wife's vantage point. At the end of the story, Miranda hangs out with Rohin. Rohin is there to show the human face of the children who could be affected by their affair. With the innocent honesty of children, he shares his interpretation of the word "affair," "loving someone you don't know." Characters who don't have as much importance, such as the saleswoman at Filene's, don't have a name. There are no extra's in this story.
What is style, anyway?
Style is the language used by the author. Lahiri uses relatively simple words. In Sexy, archipelago is probably the most difficult vocabulary word. Nonetheless, her descriptions have a flowery note to them, such as, "where soaps and creams were displayed like jewels, and eye shadows and powders shimmered like butterflies pinned behind protective glass."
Style is the choice of characters, and their depth and manner of development. Miranda is obviously the most developed. We learn about her work life, her forays to Filene's, her limited view of the world, her childhood, other relationships, etc. Lahiri obviously knows much more about the world than the character she has created (such as the Gramin Bank), and shows this in a loving, non-judgmental manner. The other main characters, Laximi, Dev, and Rohin, are not quite as fleshed out, although their actions and words are telling (especially Rohin's banter).
Style is the pace of the story, the rate at which we are introduced to key details, and the rate at which the conflict is resolved. We start the story with an attention grabbing line, "It was a wife's worse nightmare," just before we hear about Laximi's cousin's affair. On the next page, we get some clues that Miranda is in a relationship with an Indian man, but we don't yet know the nature (although our protagonist, Miranda, is aware). The story then flows seamlessly into how Miranda and Dev met, providing us with more background. We dive into their steamy affair. Then the tension of only seeing Dev for stolen moments on Sunday mornings. Then the day with Rohin marks a changing point, but it isn't until the very last paragraph of the story when the conflict is finally resolved. Style is also the way the author interplays dialogue, exposition, description, inner dialogue, and background.
Style is the way that the characters' story arcs intersect. Are there any "unnecessary characters? In Sexy, the story begins with Laximi, who is there to show Miranda's limited introduction to Indians, and a perspective of how her and Dev's relationship might look from the wife's vantage point. At the end of the story, Miranda hangs out with Rohin. Rohin is there to show the human face of the children who could be affected by their affair. With the innocent honesty of children, he shares his interpretation of the word "affair," "loving someone you don't know." Characters who don't have as much importance, such as the saleswoman at Filene's, don't have a name. There are no extra's in this story.
I really appreciated how you called out Lahiri's stylish language. In a way it's like Filene's itself, in the sense that you can have a lot of style without going for the high priced words. (It's the way you work it! ;)) All jokes aside though, I like the craft concept you raised of not having unnecessary characters. Everything and everyone is doing something to support and address the theme's Lahiri explores in this story. This kind of economy of words is something I hope to have in my own writing.
ReplyDeleteI agree that Lahiri's use of simple language is very effective and stylish. It can be tempting to get caught up in big words when trying to explain something complex, but Lahiri does this beautifully with straight forward language.
ReplyDeleteI thought it was really interesting that more judgement wasn't piled on Miranda, it would have been very easy to do so, but I appreciate the author giving her more complexity.
I liked how you pointed out that there are no unnecessary characters, the author gets fairly detailed about some of the characters, so keeping the character count down let her explore a few characters in a meaningful way.
Hemingway wrote for a 6th grade reader--point being, you're right. The level of language is impressive and magical in the way it fulfills the character and the plot. Great observations.
ReplyDeletee
I especially appreciated your comments about the pacing of this piece. Miranda's character and her relationship with Dev are revealed to us so gradually that it gives the reader more opportunity to live inside of Miranda. Like her, we see the relationship grown and then fade, like the tides gradually rising and receding. And this is set against the steady, unremarkable, rhythms of her daily routine as she goes to work, talks with her coworker, leaves work, goes on errands, and goes home again. As a whole, Lahiri uses pacing to create the feel of Miranda's predictable day-in and day-out life, and how her relationship with Dev offers such a welcome dynamic contrast. Overall, Lahiri's use of pacing suggests that her characters are ordinary, everyday people who deserve the same time, attention and compassion as the more exceptional or heroic characters would.
ReplyDeleteThanks for inspiring more thought!
Hello, Melody
ReplyDeleteI appreciate how you break down your analysis so succinctly. You show just how meticulous Lahiri is in her craft choices and how she shows her overall style throughout the story, "Sexy." I like your analysis of the characters not being redundant and unnecessary; you are "spot-on" when it comes to each character revealing a different affect of divorce, a different perspective, so that the protagonist can see the reality of her predicament.