“Before We Visit the Goddess,” by Chitra Banerjee Divakaruni weaves a story that is all too familiar – unresolved issues between mothers and daughters. The story revolves around three main characters – Sabitri, Bela, and Tara. Sabitri, the grandmother runs a sweet shop in Kolkata, India. Bela, Sabitri’s daughter, runs away to America with Sanjay, a refugee she fell in love with. Tara, Bela’s daughter, decides to drop out of college as she struggles to find her identity. All three women are forced to forgo their education. It seems like a trifecta of women all heading down the same path of regrets with their poor choices and bitter lessons.
The book begins with a letter from Bela to Sabitri in which Bela tells her mother that Tara plans to drop out of college. In response, Sabitri writes to her granddaughter Tara, whom she has never met.
“Granddaughter, people look down on a woman without education. She has few options. To survive, she is forced up with ill-treatment. She must depend on the kindness of strangers, an unsure thing. I do not want that for you.”
This is a key lesson that Sabitri lives by as she has struggled to get her education which she never completed. She tries to receive an education by becoming a live-in help with a rich family who ill-treat her. Then, when she falls in love with the wrong man – class issues interfere with the completion of her education.
A painful sense of reality is set up for the reader as they go along the life journey of the three women. All encounter misogynistic men in a world where they start out naive and hopeful. The reader sees how each generation of women faces nearly identical choices, yet the wisdom from the previous generation is not imbibed by the next leading to a vicious cycle.
What is it that makes a mother-daughter relationship so complicated? Every daughter wants to become something that isn’t her mother. The worst thing for a daughter to hear is, “You are just like your mother.” All the daughters in “Before We Visit the Goddess” strive to have lives far from their mothers. Yet they end up in the same cycle of unhealthy relationships, identity crises and denying their sexuality in a heteronormative culture.
Bela runs away from Sabitri’s home in Kolkata to be with Sanjay in America. Sabitri is against their marriage as she wants Bela to finish her education and not depend on a man. As Bela comes to America, not only does she depend on Sanjay, but they both depend on his Uncle Bishu, who makes criminal choices to keep their family alive. Trapped and pregnant, Bela has no choice but to remain with the two of them. This spills over to her daughter Tara, who makes choices that she hopes are different from her mother’s.
Tara chooses to be with Robert, whom she thinks of as special. She believes he is nothing like her father. who cheated on her mother. Yet Robert is soon shown to be unfaithful.
All three women have unhealthy and dependent relationships with the men in their lives. These men, in turn, seem to lack empathy and loyalty. Worse yet, they all fall into the same pattern of patriarchal control whether in India or America. They show no appreciation of the women they have in their lives.
Identity Crisis—Forging an Individual Path
“Before We Visit the Goddess” tries to indulge the reader in a feminist storytelling format. The storytelling is split between the three opinionated women who attempt to forge their own paths. Tara and Bela seem independent by running away from their homes. Yet, they do so with men their mothers don’t approve of, which lead to harsh consequences. While the book resonates with common archetypal themes of mother and daughter, each woman faces a unique identity crisis. As the daughters move overseas, issues of migration, sexuality and individualism impact their identity. The identity crisis of the daughter discovering her own identity distinct from her mother’s is a common thread. The book does well with allowing a reader to relate to their own mother-daughter paradigm.
Sexuality in a Heteronormative Culture
Larger questions of female sexuality and misogyny in Indian culture are explored in one chapter of the book. Tara finds herself volunteered to drive a visiting Indian man Dr. V. to the Meenakshi temple in Houston, Texas. At first, the spiky-haired, scorpion-tattooed Tara and the middle-aged, straightlaced Dr. V appear to have little in common beyond their ethnicity. In the drive to Houston, both discover and share their own loss and the drive revives memories they had repressed. Dr. V lost his daughter to suicide after she came out to her father in India. Tara had an abortion which she told no one about. Both had gone through a deep sense of “shame” stemming from being Indian in a patriarchal structure. Arguably, this was the best chapter in the book.
The story then transitions into the perspective of Kenneth, a gay best friend of Bela’s. They help each other overcome past relationships, becoming family at a lonely time. Kenneth never reveals his sexuality to Bela. When Bela discovers this she feels as though another man has betrayed her trust. Through Kenneth, the reader gains a perspective of Bela’s life, one filled with violence and mystery and why she made the choices she did.
The final lesson of the book lies in a letter the grandmother writes to her granddaughter. Sabitri’s happiest moment had been when she created a recipe in the back of her kitchen store. Sabitri writes to Bela, on how fortunate a woman is to have financial independence and creativity.
“Satisfaction overwhelmed me. This was something I had achieved by myself, without having to depend on anyone.”
The book really brought home to me, how all too often as women we try hard to stop our worst fears from coming true. This in itself can create the circumstances we were trying to avoid in the first place. Avoiding the mistakes our mothers made, is one such overarching concern. Much like us, the protagonists in this novel end up seeing their worst fears come true. That they are not that different from their mothers and worse yet make the same mistakes.
Ragini is passionate about social justice and storytelling. When she’s not playing soccer or rock climbing, she tries to explain the world to herself and others, through her art, videos, and writing.
For the literary vertical, BGM editor NImarta Narang was honored to delve into sci-fi with author extraordinaire Premee Mohamed. In ‘Sleeping Beti’, Premee details a wedding that is due to take place in two weeks after Anju wakes up 75 years later from cryopreservation…in space. The detail that Premee gives us is so engaging; her flair for creating new worlds is on full display. ‘Sleeping Beti’ also shows us that aunties are everywhere… even in outer space.
Anju was dying.
She knew she was dying because there was no possible way someone could feel this sick and live through it; she was sure she could feel death creeping through her bones as she heaved over the considerately-placed glass receptacle. Dimly she wondered who had put it under her head, and why it was glass — but her thoughts kept submerging in the pain and vertigo. At first, nothing came up; then, after an eternity, an endless rope of pink-tinged clear gel, as if she had eaten a whole bucket of the transparent fidget putty she kept in her office.
“Good, very good,” a voice said near her head. Anju seized on it like a rope thrown at a drowning woman. It was a warm voice, rounded, oddly familiar. “Good girl, Anju. Get it all out.”
She was good. She was being a good girl. She seized on that too.
The voice said, “It’s easier than having it extracted, believe me.”
Another more distant voice, said, “This is great. Better than we could have hoped, better than the model predicted. Her signs are all green across the board, look.”
The first voice said proudly, “She’s always been a strong girl.”
Anju sensed unconsciousness grappling for her, brushing its dark fingers warmly across her face. She fought it off and took a deep breath, rolling back onto the bed she had been dangling from. White ceiling above her. Square glass panels, bright white lights glittering against the glass-like stars. “What happened?” she croaked. “Am I in the hospital? Mom?”
A beat. Then a face leaning over her: not her mother but eerily similar, a resemblance more sister-like than twin-like, although Anju’s aunts on her mother’s side actually didn’t resemble one another in the least. This woman was a smudged copy. Same black hair, temples left artfully silver, worn in the same crown; same eyes, mouth. A bit bigger, more muscular. “No, beti,” she said gently, smiling. Same teeth, same shape. “You can call me Mrs. Sharma.”
But my mother is Mrs. Sharma, Anju almost said. “What’s going on?”
“… Let’s get you something to eat, hmm? It’s a long story.”
Her first questions were answered by the place Mrs. Sharma took her to eat: a glass table extruding smoothly from the wall as they approached, followed by two glass chairs and glass plates of food rising through the table’s hollow pedestal to sit neatly in divots on the surface. Anju stared at the food first. It looked like palak paneer and brown rice. She then stared out the window next to them, which looked convincingly like space seen from a movie spaceship. In real life, she knew, you rarely got views this pristine. The New International Space Hub, the CanaDorm, and the Pan-Asian Science Station, all had machinery, cables, screws, wires, bits of foam and plastic in the way. And none of them had windows like this.
Anju ate slowly and cautiously, because Mrs. Sharma told her to, and because she could barely speak anyway. The Earth floated below them, ochre swirls, yellow and amber, long streaks of sepia clouds, and below them somewhere the ocean, a dead-looking blue. They were in space. Genuinely in space. The fork, too, was made out of glass. She stared at it.
“Uh, isn’t this kind of … unsafe?”
Mrs. Sharma chuckled. She was eating the same thing as Anju as if to encourage her by example. She was wearing a baggy, oddly aerodynamic white jumpsuit like the one Anju had discovered she was wearing, and both now boasted tiny spots of deep green spinach. “It’s not glass. It’s transparent nanoceramic. Stronger than titanium. You’ll find we use a lot of it here. Hardly anyone uses real glass anymore. Artists, I suppose.”
“And here is … where exactly? Mrs. Sharma, I … what’s going on? Is this a … prank, a joke? Some kind of sim? Please tell me I haven’t been kidnapped for one of those billionaire reality shows.” She heard the whine in her voice and hated it but couldn’t help it. She’d never been so confused in her life and she didn’t want to be a bad sport, either. “The last thing I remember is going into Dr. Li’s office to get that mole removed on my chin…”
“Oh yes,” Mrs. Sharma said. “We did remove the mole. It wasn’t cancerous if you’re worried about that.”
“I was, but now I’m—”
“Let me explain. There’s a presentation later, also. A ‘sim,’ if you want to call it that.”
Anju gradually stopped chewing and simply stared as the explanation spooled out. Yes, she was correct to remember Dr. Li’s office, her mother fretting in the corner, Will there be blood? I will look away if there is blood! I don’t like to look! Mom prettied up in skinny jeans and sandals and a silk blouse because they were supposed to go to lunch later. The tiny, cold sting of the needle in her face. And then waking up here … 75 years later.
“Cryopreservation,” Anju said slowly. “But that’s not real. That’s … that’s sci-fi. I mean, movies…”
“Well, so was cloning, 75 years ago.”
“I … what? Are you a clone of my mother?”
“A modified clone descendant, not from original cells for several generations,” Mrs. Sharma said serenely, waving a hand to dismiss Anju’s horror. “Legally, modifications must be made. No unaltered clones. There are laws! And Precision Sharmaceuticals were the experts then, and the experts now. Which is why it was decided to take this very exciting step—”
“Are you referring to freezing me as—”
“We thought you would be delighted!” Mrs. Sharma seemed genuinely hurt, but Anju was quite used to this kind of unsubtle emotional manipulation from her mother, or even a lineage of her mother, and stared at her stonily as the older woman made a show of rallying to continue her explanation. Cryofreezing was already illegal on Earth, so both the cryo-tubes (“Wait, go back, why is there a plural there”) and the companies (“Again—”) (“Don’t interrupt, Anju, or we’ll be here all week”) had been moved into orbit, which was technically legal, and they did want to do everything by the books, after all.
And doing things by the books was precisely what Anju was doing here, to answer her question. An enormous tax loophole had been created when corporation mergers had been prohibited over a certain size, which the former CEO had realized they could dart through — “For everyone’s benefit, Anju!” — with a marriage and a specific clause in the prenuptial agreement, uniting not only two perfectly darling and very compatible young people, but two families, and two mega-corporations.
“But I didn’t agree to any of this! You’ve … My God, Jesus Christ, what the hell is going on here?! You … You abducted me, you froze me against my will, you—”
“I didn’t do any of that,” Mrs. Sharma said. “I didn’t even exist! Your parents made the decision. All the astrological figures have been calculated. A date’s been chosen. None of that was my doing. And,” she repeated meaningfully, “they thought you’d be happy.”
“My parents knew shit about me and my happiness! Or else they’d never have done this!”
“That isn’t true,” Mrs. Sharma said. “Come on, you need to watch the sim your parents left for you. And you’ll feel better.”
“One second,” Anju said. “I think I’m going to throw up again.”
It was a big room — like a miniature auditorium, a bowl shape sloping down to a platform in the center. Or, Anju thought morbidly, like one of those surgical theatres. They wanted to make sure that everyone could see the horror being enacted in the middle of the floor. Several more people, Mrs. Sharma had informed her, were expected; there would be a wait. Anju sat and shivered in her nanoceramic seat — relieved when Mrs. Sharma reached over and adjusted something on her white suit, sending a slow warmth creeping from her core down to her wrists and ankles, like the whole suit was one of those heated seats in a fancy car.
Cars. Did they still have cars on Earth? Or up here? Her car, a bargain-basement Honda Civic, hadn’t even had heated seats. That had been an add-on she couldn’t afford. Where was it now? Forget the car. Where was her life now? She had been partway through her master’s degree in sociology, (much to her parents’ highly vocal horror). Now she would never graduate. Her apartment! Had someone been watering her plants? No, they must all have died a few weeks later. Her mother had hated her place anyway. “Why can’t you live at home? We’re only a 40-minute drive away. Or at least in a nicer building!” Anju, upon reflection, didn’t think she had loved it; but she hadn’t hated it, either. It was somewhere to live and it was relatively quiet and it was hers. Away from her parents.
But her friends, the other grad students under her professor, the kids whose papers she graded at night … everyone would be dead now. Or almost a 100 years old. Her parents were dead. Everyone in her family was dead.
She waited for tears to come, but nothing happened, only a cold lurch of nausea deep in her core that the heated suit could not touch. People were filing in now, no one with recognizable faces like Mrs. Sharma, which she supposed was one small blessing. As he took his seat across the bowl, a dazed-looking young man nodded vaguely at her, and she nodded back: Hello, the gesture said. I see you’ve been cursed in the same way as me.
She wondered what had been taken from her husband-to-be, what kind of life they had destroyed. Better? Worse? How did you measure that kind of thing? She realized she was waiting for the shock to wear off before she could feel the full measure of grief and outrage and mourning and anger that she knew must be building up inside her. It couldn’t have all gone numb. She was not that kind of person. Her parents had never really seen that side of her, had they? She had been concentrating so hard on being a good girl.
The sim was short and very realistic; Anju even recognized, more or less, the speaker, who had been a chief something of her father’s company. He was a big shot now, sitting on the board of Precision Sharmaceuticals. He was joined by a brittle-looking, gorgeously haughty woman who turned out to be the former CEO of CellRegenixx, which Anju presumed to be the company they were marrying.
Together, spiritedly, they delivered their congratulations on the engagement, explained the legalities (no divorce, no annulment, for a period of 10 Earth years), displayed the spectacular bridal sari that had been preserved for 78 years in its very own anaerobic preservation tube, discussed the wedding ceremony, and the guest list (almost all of whom would be virtual, naturally). They were now thawing the pandit out as the stars, moon, and Mars were right.
“We’ll go over afterward and introduce you to Prab,” Mrs. Sharma murmured as the holographic man went on. “Later tonight. We’ll have to do your hair and makeup, of course.”
“I don’t want anyone to do my hair and makeup.”
“It’ll be easier, trust me. You won’t be familiar with any of the devices and they’re not very intuitive.”
“That’s not what I meant, I meant—”
“Don’t raise your voice, dear.”
Anju sat back and glared at the young man they’d chosen for her — Prab, was it? Must be short for something, as Anju was short for Gitanjali. Heir, like her, to a mega-corporation of impossible wealth and power and, like her, technically unable to inherit it. It wasn’t like a monarchy. This was the only way, the sim was telling her. She ignored him and studied the room. She’d already barked her shin about a dozen times on various half-invisible pieces of transparent furnishings or ship fixtures.
She thought about her apartment again and its opaque furniture and the exposed brick of the walls and the subtle, indefinable scent of the brick, the sound of her spider plants scraping gently against it in the breeze. And again she waited for grief and again it didn’t come.
The next morning, she tried to steal one of the ship’s escape pods.
It wasn’t something where she could have argued later that she thought was a good idea at the time; she had eaten breakfast with Mrs. Sharma’s supervision, and then asked about the “Uh, hygienic facilities?” Thankfully, the older woman hadn’t insisted on accompanying her to help her ‘figure it out,’ which Anju had been worried about, and on the way back Anju had darted into a side corridor.
At first, she really had just wanted to explore the ship by herself. She marveled at the combination of carpet and tile, all intricate and colorful, in sharp contrast to the pale metal walls and transparent nanoceramic everything else. And then she had looked up to see the surprisingly extensive signage indicating yes, the facilities, but also a gym, a spa, and directions to the engine room, control room … and “Emergency Exits.”
Of course, on a spaceship, she had reasoned, you couldn’t have an emergency exit; exiting was in and of itself an emergency. So, it must have been something else. She had followed the directions, therefore, initially out of curiosity, and then upon seeing the unguarded room full of beautifully-appointed, arrow-shaped pods, had instantly decided to take one.
For about 30 seconds, as the pod powered up and began its initiation sequence (“Please wait … determining power levels”) it looked as if this would be the easiest exit of her life. Much easier, frankly, than her attempts to sneak out of her parents’ fortress-like mansion as a teenager, what with all the hired help in the house and the security system, and the placement of her bedroom, and the wall around the—
Sirens, alarms, strobe lights, lasers, and attack drones. Mrs. Sharma hauled her away for a respectful but thorough talking-to. After that, there was no more unsupervised wandering; the only exception, she discovered, was spending time with her husband-to-be, Prab, because he had supervision of his own.
“Its name is Satya,” Prab said gloomily.
“I hate it,” Anju said.
“Me too.” He reached to brush some of the dangling leaves away from his face, but the drone was already doing it for him; a featureless grey sphere with a couple of pin-sized red lights on it and grey limbs that folded out from its equator as if it were taking things out of its Bat-utility-belt.
They were in the atrium, where they had been told the wedding would take place when the stars were right, in about two weeks. If Prab and Anju had thought the dense and tangled greenery would allow them a minute’s privacy, they were wrong; Satya the drone had no visible propellers (Anju had no idea how it was staying in the air) and simply nudged through the foliage like a determined bird. The air smelled of hidden flowers, damp earth, sap, dirt, mold, wet concrete. Ordinary smells of a greenhouse back home, or the botanical gardens on campus.
“Anju Sharma,” she said after a minute, leaning on a decorative stone bridge over a little trickling stream.
She didn’t shake his hand. Eventually, he came over and leaned on the bridge next to her, not too close.
For a long time, neither spoke. Then he said, “Those … aren’t fish, are they?”
“Oh. Huh.” She squinted. He was right; they were projections of koi and koi-shaped shadows; very good, but not real. Occasionally the water shimmered in just the right way and the fish seemed to glitch. “The future is bullshit,” she said bleakly.
“How did they get you?” she said, turning to look at him properly. He was about her height, with a lot of curly black hair held back in a ponytail and the beginnings of a beard. He also looked like he hadn’t slept for about a week, rather than, like her, having been asleep for a large part of a century.
He sighed. “My parents took me to a cookout at my cousin’s.”
“They put a pill in my frozen yogurt. I felt it in the back of my throat just a second too late to do anything about it. It was too easy. If I was a writer, I wouldn’t even have put that in a book. Who just swallows a small hard object they find in their dessert?”
“Well, same,” she said. “I went in to get a mole lasered off. And you know what? Now that I’m thinking about it, it was my mom’s idea. I’d had that mole my whole life. You can see it in the photos where I’m graduating from kindergarten, for Christ’s sake. And all of a sudden, she’s like ‘Darling it could be cancer, you’d better get it removed’,” Anju said, gritting her teeth with sudden anger as she realized it, “they knocked me out with the so-called ‘local anesthetic’ shot. I also genuinely think Mom wanted me to not have the mole in my wedding photos.”
“Oh man,” said Prab. He had a broad California accent, so that when they had first spoken on the way into the atrium Anju had thought he was putting it on. Now she found she rather liked it.
“I can’t believe they did this to us,” Anju said, pushing away from the bridge. She couldn’t stand the fake fish anymore. The stone path to her right led into a kind of fern tunnel, a dozen types of soft green fronds growing out of artfully placed stones or cement, so she walked through that. Prab followed. “I’ve been trying to figure out how to get out of this, how to, I don’t know, contact the authorities, something. It’s practically sex trafficking!”
“We don’t have to have sex,” he said meekly.
“Oh, shut up. That’s not the point. I mean, in an arranged marriage, at least in my family, you get veto power. You’re absolutely allowed to say ‘I don’t like that boy’ at any stage in the process. Then they find you a new one. Or they don’t. Listen, I’m not saying the system is perfect, but I have — had — friends who were perfectly happy with whoever their family picked, and some who insisted on normal dating, and everything in between. I’ve never seen it so you can’t say no.”
“Me neither. I mean … actually, I guess for the girl’s family,” he said as if he was thinking about it for the first time. “I think it’s just expected that the boy will say yes to whoever.”
They paused, in the fern tunnel, and thought about that for a while. Prab reached up and ran one of the fronds through his fingers, gently collecting a bead of water that he flicked to the floor.
“I did actually ask Mrs. Sharma if I could say no,” Anju said, nudging past him to reach the other end of the stone tunnel. This area was devoted to orchids, dozens of varieties and colors, impossibly perfect.
“Did you? Good for you. I can barely look her in the eye,” Prab said.
“She’s kind of overbearing,” Anju admitted. “Anyway. She said of course I didn’t have to agree to the marriage. But she also spent about 40 minutes explaining to me what it would mean for, you know, the company, the literally millions of employees back on Earth, how much better it would make their lives. And how long this has been in the works, and how hard they’ve worked to keep that family business loophole open. How much my parents wanted it, how hard they looked for a merger partner and a man my age who would be compatible, and how many times the birth charts were run. They were obsessed with that part. It couldn’t just be anyone. It had to be someone compatible at however many points of compatibility.”
“Don’t ask me,” said Prab. “I was born in America. My parents were the ones who knew all that stuff.”
“Yeah, same. And no brothers or sisters so I mostly had to go off what I heard at family weddings for cousins and whatnot.” And now all my cousins are dead, she almost said, but she was also thinking of the rest of that conversation with Mrs. Sharma: the letter from her mother, specified to be delivered ‘just in case’ Anju was being ‘difficult,’ still unread in her jumpsuit pocket. “Your life will be limitless now, Anju,” Mrs. Sharma had said sweetly, putting her big, warm hands on Anju’s shoulders. “It will be as big as the galaxy! You’ll have money, ships, travel, clothes, you can do whatever you want, whenever you want. Didn’t you always dream of a life like that?”
She hadn’t. She had barely been able to dream of a week where she got enough sleep and maybe got to see her friends for lunch once or twice. But it had been hers, her life, constructed by her out of materials she had chosen. Mrs. Sharma stared at her blankly as if she’d started speaking another language. “What does that have to do with anything?” she’d said.
“At least you got out,” Prab said, laughing weakly in the face of Anju’s silence. “You know, I had cousins that teased me about it. Look at Prab, he’s 26 and getting his Ph.D. and still living at home…”
“You were getting your Ph.D.?”
“Yeah, high-energy physics. Which is funny. If my parents had just waited a little longer to do this, they could have put me in one of those — you know. Like Best Groom Match Magazine. Saying ‘He’s a doctor!'”
“Wrong kind of doctor.”
“I guess so,” he smiled a little and then returned to his somber state. “I always did what they told me. I never thought they were telling me to do anything … really unreasonable. I never questioned them. What was there to question? I had the basement to myself in the big house, I had a nice car, they gave me money. I never had loans. We fought about my major but as long as I was going to be some kind of prestigious scientist, it was okay that I wasn’t going to be a real doctor. And then this. I wonder how long they were planning it.”
“Probably longer than you think,” Anju said. “Did you hear that they picked up that bridal sari three years before they ambushed us?”
“What are we going to do?” she said, louder than she had intended. Her voice cracked in the middle and she thought tears would finally come, but still there was nothing. Only the despair and frustration, as heavy as lead around her; inert, cold.
He blinked. “What do you mean?”
She stared at him. Then she turned and left.
Back in her room — beautiful, transparent, and incredibly dull, because no one had thought to take even a single personal item from her old life to carry into her new one — Anju opened her mother’s letter. Incredibly, after so many years, it still smelled of perfume. Mom liked perfume and had perhaps a hundred bottles in her vanity room, a place Anju had liked to go as a child and had been permitted as long as she didn’t touch anything. It was enough to just look at the ranked bottles topped with spheres or octahedrons, angels and demons, wings, feathers, faces.
She sniffed the paper and felt the tears build up. Even before opening the letter, she knew what it would say. It would not be a heartfelt missive about how much her parents had loved her and how they knew they were doing the right thing to give their daughter the best possible life. Nothing her mother did was heartfelt. It would be brisk and affectionate and above all, extremely confident that her daughter would do her duty as demanded. What else had Anju done all her life?
They had never fought. Fighting would have implied that Anju was maintaining a position. Instead, she had simply shrunk down, diminished, become quiet and obedient, gotten the grades she had to get, and escaped only after making it out of her undergraduate degree, expanding her boundaries the tiniest bit so that she could experience the wildness of real air and not something her parents had already pre-vetted and pre-filtered.
Now she wished that they had fought. At least it would have felt like a connection. She unfolded the letter and read it, trying to stretch it out, because it was so short. Everything her mother had felt necessary to say fit in ten lines. The clear expectation; the assurance that Anju would indeed do what she was told; the ‘caretaker’ that would make sure Anju would do it properly.
What were you going to do with your life anyway? MS.
No ‘Love, Mom.’ Just her initials.
Anju folded it up and sniffed it again and put it on the transparent shelf next to her bed. It was the only thing in the room with a scent.
“I don’t know,” Prab said. “I think you need to ask yourself what you want out of life, you know?”
“Are you trying to give me an existential crisis?”
“I hope I’m not,” he said. “Are you going to finish that?”
“No, go ahead.” Anju handed him the paper bag of doughnut holes; she had lost her appetite.
He said, “I mean, my parents had this talk with me all the time. You know. The reason they came to America. They asked themselves what they wanted, and they answered it, and then they went to get it. So I did the same thing. Money, security, safety, those were important to me.”
“Were they? Or were they just the things your parents told you were important?” She was looking down at the artificial fish again, even though they gave her a headache. Or maybe it was Satya’s electrical field, which made her hair stand up when it got too close. She waved the drone away. “Mine never told me but I knew. Yeah, money, security, safety. Prestige. Image. Status. They didn’t just want to make money quietly, they wanted everyone to know it. And they wanted their baby, their only child, to be this kind of … crown jewel. That’s why they did this, you know.”
“I know. But what can we do? This is what we were frozen for. Looked at a certain way, it’s possible this is what we were born for. And would it be so bad?” His voice took on a slightly pleading note — not for himself, Anju thought. Not for his ego, or their future marriage. But this life, in space, spectral and shimmering, constructed out of nanoceramic and gems and gold, was being dangled in front of them but neither of them could touch until the marriage took place.
“It’s not whether it would be bad or good,” Anju said. “It’s that they took my life away. And they gave me something I didn’t ask for and don’t want. Don’t you miss your life, Prab? Your work, your friends?”
“Of course I do! But we can’t get them back. We may as well make the best of now.”
“But we’ll be right back under their thumbs. More, if anything. We won’t have a life. We’ll be controlled and monitored the entire time. We can’t make the best of that!”
“Yes we can,” he said brightly. “I believe in us!”
“You’re an idiot,” she said. “I give up. I’ll see you at the wedding.”
As the day approached and the celestial bodies moved in their paths, Anju unexpectedly acquired several security-slash-drone ‘cousins,’ who began to follow her around in unnerving silence. This left Mrs. Sharma to complete the arrangements for what appeared to be a surprisingly traditional wedding, minus the celebrations that came before, since no one would be arriving till the final day. Anju was surprised to find herself upset by this. She was 24; marriage seemed like an infinite distance away. She never dated anybody seriously. She hadn’t ruled marriage out completely; no, but she had not been thinking about it at a conscious level.
Even so, there must have been a part of her mind that, like her mother’s, was grinding away somewhere, some hidden sub-routine thinking about what her wedding would be like. And if she had to say it out loud, she would have admitted that there should have been parties, dancing, music, all her far-flung cousins and uncles and aunties, a house full of flowers and real presents and joke presents and houseguests sleepily scratching their hair and yawning as they figured out the coffee machine.
Not this cold and sterile ship full of administrators and bureaucrats and cryo-tube scientists and security people. Definitely not putting her hands into what looked for all the world like a toaster oven and waiting while it carefully printed the henna lines onto her skin. That was when she finally burst into tears, but since she couldn’t move her hands while the chemical curing process was taking place inside the machine, she just had to cry and snot onto her jumpsuit. It wasn’t supposed to be a machine! It was supposed to be her cousin Vera, who had steady hands and did mehndi on the weekends for extra cash!
“Are you distressed?” said one of the security drones.
“Go eat a magnet,” Anju said.
When her hands were done and dry, she followed her entourage back down the hallway to a warm little room where Mrs. Sharma proudly dressed Anju in the red bridal sari, “All the best, darling. The sari is entirely hand-embroidered, which is literally, not metaphorically, unheard of these days.” Mrs. Sharma grabbed one of the specialized drones to do her makeup and hang the jewelry. Her mother’s, Anju noted. Gold and sapphires and diamonds like stars in the sky.
The atrium was filled with ranks and ranks of transparent chairs arranged in a semi-circle around the big central gazebo, hung with vines and garlanded with very convincing but again, Anju suspected, not real flowers. Prab and Anju walked down the stone path together, not touching or looking at one another, unaccompanied, painfully aware of it. Anju felt the makeup on her face only psychologically; in fact, it had gone on in a mist, and she knew there was only the thinnest possible layer of pigment.
To squeeze through the family loophole, legally, it must be the case that the predecessors are deceased and the successors are assigned positions out of necessity … Anju still had to admit she wanted her parents there, her quiet father, her glamorous mother, watching her walk up the steps to the tiny fire and the thrones and the cushions. She knew no one in the crowd of real and virtual people except the board. And Mrs. Sharma, sitting in the front, nodding encouragingly, dressed in a blue lehenga so encrusted with crystals that it must have weighed twice that of Anju’s sari. Many guests seemed recently thawed out, a little shaky, like the pandit.
She sat down and did as she was told. A comforting smell of incense filled the gazebo — synthesized, she could not help but notice and is emitted from a couple of small nozzles buried in the vines. A world of glass, a world of fakery. A world in which she would be pressed like candy into a mold, and come out like this, shaped and transparent.
How can I escape?
She was still wondering as she and Prab signed their names on the register, pressed their thumbs to the screen, allowed their retinas to be scanned. Prab was smiling uncertainly, but it had a glassy look to it, as if, Anju thought, he had asked for a sedative before the ceremony.
And somehow his odd, glazed pliability made it easier to do the next thing — another thing, she would tell people later, that didn’t at all seem like a good idea at the time, but seemed bright and obvious as a flame.
“So I’m officially CEO now?” Anju said, drawing her face back from the retinal scanner.
“Well, you and Prab are co-CEOs.” Mrs. Sharma was beaming. “You look so good, darling. So fresh and young! Now, we have a list of policy proposals that need your signatures, those were developed some months ago, so we need to—”
“And I can do… Whatever I want, right?”
“With the approval of the board, and with the approval of your co-CEO,” Mrs. Sharma said, her voice dropping into tones of suspicion. She was too late.
Anju’s heart pounded. Sweat soaked into the layers of fabric at her back. Could they put her in jail for this? Not very likely … “I’m abdicating as CEO. With my co-CEO’s permission, of course, and the board’s. I’m appointing Mrs. Sharma as the new CEO. Try to keep me and I’m not signing anything ever. That’s the deal. Any objections?”
All the air seemed to leak out of the room. At her side, Prab let out a frankly hysterical laugh. She knew how he felt. She couldn’t stop smiling. Everyone was staring at her, mouths open, whether they were hundreds or thousands of miles away or present. One woman, Anju couldn’t help but notice, had actually clutched her pearls.
She didn’t think Prab would follow her, but he did, and they left the room full of shouting people without much notice; the board hadn’t been difficult to convince, and the swapping of Mrs. Sharma’s name for Anju’s had been signed off by the company lawyers in two minutes. They had the forms all ready to go, after all. Anju felt slightly delirious and wasn’t sure whether to laugh or scream. “What are you going to do now?” she said over her shoulder.
“Oh my God. Oh my God! I have no idea. What did we just do? What did you just do? Why did I go along with it?”
“Because you always do what you’re told.” She stopped, pulled him into a doorway, and put her hands on his shoulders. She squeezed hard, digging her newly-painted nails into the thick fabric. “Prab! For Christ’s sake. Look at me!”
“But, but we … we can’t just… ”
“You can go back if you want! What are you following me for? They’ll take you back. You won’t be CEO, but you’ll have a job, you’ll have a cushion for the rest of your life. Money. Whatever you want. You know that! And if they don’t, I don’t know. Tell them you were coerced.”
“Anju, you turned down this … gift, I mean, not even turned it down, threw it back in their faces…”
“No I didn’t,” she corrected him. “I passed it on. I re-gifted it. And a gift you don’t want is a waste anyway.”
“I guess so.” He took a deep breath and started to laugh, the first real laughter she thought she’d heard from him. “That was amazing. Her face. What are you going to do now?”
“I’m going to go find those escape pods again.”
“And then what?”
“And then I don’t know.”
“I’m your husband,” he said uncertainly. “I should go with you.”
“You can if you want,” she said. “Are you listening to me though? I said if you want. I’m okay being separated. What do you want out of life? I just answered it. You have to do the same.”
“What was your answer?” he said, stooping to pick up one of her earrings. “Here.”
“Thanks. Uncertainty. Poverty. Adventure,” she said. “I never had an adventure in my whole entire life. I never even met my friends at the mall after dark when I was a teenager. But now…”
“Anything goes. You can follow me if you want. Or you can go have your own adventures. No one’s going to tell you what to do anymore,” she said, looking up at the signage again. “Not even me. Here we go.”
The sirens blared; the strobes flashed. This time, no one responded, and the pods finished their initiation sequence, checked their power levels, ran through diagnostics … and shot free from the ship like dandelion seeds, bright specks against the darkness of the sky; unnoticed and unpursued.
In celebration of Kirthana Ramisetthi’s second novel “Advika and the Hollywood Wives,” BGM literary editor Nimarta Narang is publishing this short story by the acclaimed author. This piece chronicles the evolution of a writer’s life through their ever-changing author’s bio. In the details, from the change in last name to the new address, we observe how Gigi grows into Genevieve and the life events that make her into the writer she becomes.
“My Picnic,” published in the Oakwood Elementary Storytime Scrapbook
Gigi Maguire loves strawberries, “Smurfs,” and being a first grader. Her favorite word is ‘hooray.’ This is her first short story.
“Sunshine Day,”published in Oakwood Elementary KidTale
Gigi Maguire is a fifth grader in Ms. Troll’s class. She loves writing stories more than anything in the whole world, except for peanut butter.
“What Rhymes with Witch?,” published in BeezKneez.com
Gigi Maguire is a high school junior living in the Bay Area. Her favorite writers are Sylvia Plath and J.K. Rowling. If she can’t attend Hogwarts, she’ll settle for Sarah Lawrence or NYU.
“On Her 21st Birthday,” published in LitEnds
Gigi Laurene Maguire is a writer and recent graduate from Sarah Lawrence College. Her favorite writers are Sylvia Plath, Alice Munro, and Mahatma Gandhi. She is making her big move to New York City in the fall.
“Valentine’s Day in a Can,” published in Writerly
Gigi Laurene Maguire is a freelance writer who loves the written word, Ireland in springtime, and “La Vie En Rose.” She lives in Hoboken, New Jersey.
“Unspoken Ballads of Literal Heartbreak,” published in Weau Dunque Review
Gigi Laurene Maguire is an assistant editor at ScienceLife.com. Her work has appeared in Writerly and is forthcoming in Pancake House and Schooner’s Weekly. She lives in Hoboken, New Jersey.
“The Mistress of Self-Loathing,” published in Story Day
Gigi L. Maguire is the editor-in-chief of Small Business Weekly. Her work has appeared Writerly, Story Day, Pancake House, and Schooner’s Weekly. She’s currently working on a novel about witches. She lives in Hoboken, New Jersey, with her tabby cat Sabrina.
“The Distance in Your Eyes,” published in The Canton Review
Gigi L. Maguire is a freelance writer and digital marketing specialist. Her work has appeared in Writerly, Story Day, and is forthcoming in Idaho Centennial. She’s working on a novel and a short story collection. She lives in Hoboken, New Jersey.
“Auspicious,” published in BookWorks
Genevieve L. Maguire’s work appears or will appear in The Canton Review, Mark’s End, Bishop Quarterly, and Idaho Centennial. A second runner-up for the Imelda Granteaux Award for Fiction, she is writing a novel and a memoir. Genevieve lives in Brooklyn.
“Meditate, Mediate,” published in Ripcord
Genevieve L. Maguire’s fiction appears or will appear in BookWorks, The Canton Review, Berkeley Standard, and elsewhere. A graduate of Sarah Lawrence College, she is an MFA candidate at New York University. She lives in Brooklyn with her boyfriend and their two cats.
“Chaat & Chew,” published in The Carnegie Review
Genevieve L. Maguire’s fiction appears in Ploughshares, Ripcord, The Cambridge Review, and elsewhere. She received her master’s in creative writing from New York University. Her short story “Meditate, Mediate” has been optioned by Academy Award nominee Janet De La Mer’s production company, Femme! Productions. She lives in Brooklyn with her fiancé, their three cats, and a non-singing canary.
“Urdhva Hastasana Under a Banyan Tree” published in The Paris Review
Genevieve Maguire-Mehta’s fiction has been hailed as “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her fiction has appeared in The Carnegie Review, Ploughshares, and elsewhere. She lives with her husband Manoj in Park Slope, Brooklyn.
“Reaching New (Jackson) Heights,” performed by Lana Del Rey on NPR’s “Shorts” series
Genevieve Maguire-Mehta’s fiction has been hailed as “effervescent” by Alice Munro and “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her work appears or has appeared in The Paris Review,Elle, The Carnegie Review, and elsewhere. She lives with her husband in Park Slope, Brooklyn with their feisty menagerie of animals.
“The Bhagavad Gina,” published in The New Yorker
Genevieve Maguire-Mehta is the recipient of the Whiting Prize of Short Fiction and is a McClennen Arts Colony scholar. Her work appears or has appeared in The Paris Review,Elle, and elsewhere. She is currently working on a novel. She lives with her husband and daughter in Park Slope, Brooklyn.
“When Two Becomes None,” published in American Quarterly
Genevieve Maguire’s writing has received dozens of accolades, most recently the Luciana Vowel Prize for Female Fiction. Praised by Alice Munro as “effervescent,” her work has appeared in more than twenty publications, including The New Yorker, and The Paris Review. She lives with her daughter Priyanka in Park Slope, Brooklyn.
“The Day We Learned Desire is a Winding Path,” published by Capricorn Rising Press
Genevieve Maguire is an award-winning writer whose work has appeared in more than thirty publications, including The New Yorker and The Paris Review. She lives with her daughter in a 100-year-old farmhouse in Woodstock, New York. “The Day We Learned Desire is a Winding Path” is her first novel. Visit her website at genevievemagauthor.com.
“Hairy Arms and Coconut Oil,” published in MotherReader
Genevieve MaguireDunblatt is a novelist, homeopath, and part-time yoga instructor. She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband Benji and daughter Priyanka in Jacksonville, Florida.
“Priya Pinker’s Mother Gets a Life,” published by Capricorn Rising Press
Genevieve M.Dunblatt is the author of two novels, including “The Day We Learned Desire is a Winding Path.” An aura reader, faith healer, and yoga instructor, she has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband in Jacksonville, Florida. Visit genevieveauthormag.com to learn more about her writing, and genevieveauthormag.com/hearthappy for her wellness services.
“Comma, Coma,” published in Read-A-Day Journal
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. Alice Munro has called her writing “effervescent.” She lives in Jacksonville, Florida.
“Next Stop New York,” published in The Lunar Reader
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She lives in New Jersey.
In her new book “Dear Durga,” author and life coach Shanita “Shani” Liu takes a different approach to self-help. Liu guides readers by providing a courageous framework. She writes to the Hindu goddess Durga Ma, who is a symbol of courage to Liu. Durga Ma represents power and protection in Hinduism.
Liu ties together the personal. She shares her experiences in witnessing fear-based patterns from her own Guyanese family and culture and noticing them in herself as a mother while proving coping strategies as a life coach. In this candid conversation, Liu explores the journeys of motherhood, writing, overcoming fear and leading future generations by example.
Where did the idea for this book come from?
It came from a diary entry I wrote in 2018 or 2019. I wrote that I was going to write a book called “Dear Durga.” I created a folder on my computer and it said “Dear Durga Book” and it was almost like I was setting the intention. I didn’t know what it was going to be about, but I did know that Durga and writing to her was an important part of my journey. And so I just had this intuitive feeling that I was going to be able to share this story one day.
In 2021, we were going through the pandemic, I just had my third child, and Durga was very much like, ‘okay, now you’re going to go write your book.’ And I was like, ‘Wait, what? I’m sorry. I’m, like, trying to navigate motherhood again and my business and everything else that was going on.’ And she was like, ‘no, you’re going to participate in this writer’s workshop. You’re going to learn how to write a book proposal. You’re going to enter it into this contest. You’re going to win the contest, and you’re going to write a book.’ And I thought she was nuts. And all of my fears started coming up – who am I to do this, I can’t do this, I’m not enough, what am I writing about?
I had to muster up the courage to write this book. And so Durga was a catalyst for me to call on my courage and say, ‘it’s time.’ This moment made me realize what I’ve been doing professionally for the last seven years is walking folks through my framework to help them activate their courage. So even though I was terrified, I realized this book can take the personal and the professional pieces of this puzzle and really put it all in one place.
When you say that Durga was your driving force for action, do you mean spiritually and religiously, or something else?
For everything, yes—emotionally, spiritually. In 2015, when I was falling apart and embarking on these major life changes in my life, she came through. It was the catalyst for me to say, “I have to start breaking myself out of these fear-based mindsets and really start entering these new phases of my life with courage and disrupting old patterns.”
Describe the writing process for this book. How did you find that courage to move past your fears?
Definitely writing to Durga. Knowing that the book was going to be about this journey of me connecting with my courage, I had to accept the challenge. I’m a writer by training. I’ve been writing my whole life. I was an English major, so I knew I could write, but I had to sit down and excavate six years of my life. I had to go into my journals from 2015 up until when I started writing the book at the end of 2021.
It was wild to re-experience myself going through these various obstacles, these discouragements, these discomforts and then find the strength through this courageous energy I had within me, to take these small steps and overcome each obstacle. The excavation of my own life was an interesting part of the process for me to get clear on the themes based on what I remembered.
The writing process was very spiritually and emotionally transformative because I’ve been doing all this work with my own courage that I sort of had to channel it with my own creativity to write and to marry what I had been doing professionally and what I had been going through personally. So, once I formed the book proposal, the blueprint for what I was writing, and submitted it to the Hay House contest, I then learned I won the runner up prize, I was able to write the manuscript pretty quickly. At that point, I was like, ‘okay, I know what I’m writing about now. I know I have the courage to do it.’ Durga was right, after all.
Walk us through the four steps for somebody who is just hearing about this and is interested in your way of approaching courage.
I have a Courage Kit framework, and I’ve had to walk my talk through it, but I’ve used it with hundreds of clients. It’s a four-phase process to support you with activating your courage and keeping it alive. The first phase is activating your courage and calling it in, identifying your courage metaphor, how to access that energy and how to commune with it and build a relationship with it. The second phase is about aligning with your needs because, as mothers and women, we don’t ask ourselves what we need due to this societal expectation and cultural conditioning. That’s an important part of emerging victorious. Victory is important because it means to attain fulfillment. Being victorious means having the courage to honor yourself so that you can be victorious, whatever that is like for you. The third phase is alleviating stressors so you can feel your best. Then the fourth phase is taking action so you can start making baby steps towards your goals.
How was this journey impacted by being Indo Caribbean? What role did your culture play in this?
The role that my culture plays is huge. In the book, I talk about the legacies of sacrifice that I come from because of indentureship. I’m three generations removed from that history of colonizers exploiting indentured laborers. When you come from these legacies of sacrifice, fear-based mindsets and behaviors accompany it. When I was acting from a place of martyrdom and sacrificing my own needs, I realized I learned that from the women who came before me, who learned it from the women before them.
When you zoom out you realize this has happened across cultures. Why are women in our culture asked not to use our voices? Why are people telling us to shut up, play small and don’t cause trouble? Our voices have been collectively suppressed, and over the last few decades, we’ve been liberating ourselves. We’re going to honor all parts of ourselves and express ourselves as we need to, and we need courage to do that.
Why dedicate the book to your younger self?
I had to dedicate this book to my Little Shanny because her voice was suppressed, and due to cultural and societal expectations, she wasn’t allowed to be her fullest self. She’s very lively and creative. In the book, she is writing and we make rap songs and other things to call on our creativity. This book is an honoring. As I was honoring all parts of myself and healing my own emotional wounds, I was liberating her at the same time.
How would you describe your relationship with Durga Ma? How can others who are not Hindu achieve that sort of relationship with their metaphoric courage figure?
Regarding Durga and myself, I don’t say, ‘I got this courage metaphor, now help me.’ You have to build a relationship with it. In the last eight years, I’ve been able to build a solid relationship with her where my courage is almost automatic. If I feel or think about fear, my automatic courage alert starts going off. The stronger connection I build to her, the stronger our relationship becomes, and the more self aware I become about making courageous choices.
But, in the introduction of the book, I clarify that folks can use the Durga archetype or work with Durga whether they are Hindu or not. It doesn’t matter what walk of life you come from because she embodies victory over evil, maternal protection and an unapologetic courage that we need for fulfillment. So I encourage folks to connect with her because people who are meant to resonate with it will resonate with it and if Durga doesn’t resonate with you, you understand you have this courageous wisdom inside you. If telling my story about the way it looks for Durga and I, inspires somebody to ponder a relationship like that, that’s great! In the end, I just want folks to walk away feeling comforted and equipped with tools to be their most courageous selves.
How do you take this idea, this archetype, and apply it to yourself or anybody?
We’re human beings and I think sometimes we just need something visual or tangible to hold on to. Sometimes I need an idea or person to help ground what’s coming up for me, so the metaphor is really helpful because I can visualize and interact with it.
The metaphor offers information because when you’re scared and fear is clouding your judgment, it’s easy to default to doubt. Your courage metaphor offers information, encouragement or directions – targeted guidance. As long as you connect, communicate with and build a relationship with it, it will help you. That’s why I use “Dear Durga,” channeled writing, as a common thread throughout the book, it’s one modality that works. If this modality doesn’t work for you, then try interacting with it differently. But at the end of the day, regardless what modality you find, you can leverage that metaphor’s information to inform your next step.
How did motherhood and becoming a mother play a role in writing this book and also your career as a life coach?
I started life coaching when I became a mother. I was pregnant while I was in my Life Coaching Certification Program, and Durga Ma showed up just a few months before I found out I was pregnant. I think she knew I was going into the next phase of my life, and I couldn’t continue on my own anymore. So motherhood was a huge act of courage for me. I left a toxic job so I could embark on motherhood and begin making professional choices that would support me once I became a mom.
The beautiful thing about motherhood is that you become a different person – you change. Your ability to care, give, create and grow changes. Motherhood informed the work that I did with other women in their mind, body, spirit wellness and it forced me to focus on my own wellness. Also, Durga Ma just happens to be this maternal archetype, so maternal protection and nurturing felt important to my process as I was healing wounds. This is a powerful energy that can support other moms because we need support. We’re caring for little human beings and, as it is, most moms are under-resourced. Courage is a resource that doesn’t cost any money, that can help with life’s challenges.
Did you have to endure little battles with people around you to gain support for the kind of work that you do?
I don’t think anyone around me discouraged me. The battle was within myself and having the courage to say, ‘I’m this life coach who’s going to focus on courage.’ I had to get over my own impostor syndrome, self doubt and fears that were weighing me down about coaching with this mindset among many other coaches. When I started, I was focusing so much on self care, but then I realized it’s so hard for women to self care because we have a fear of doing it. Everything goes back to fear. That’s why I realized the root of all of this is coming back to our courage.
As an Indo Caribbean mother, there can be a lot of expectations. Did the courage framework also help with that?
Absolutely. Most moms are givers, especially those of Indo Caribbean heritage. We saw our moms constantly sacrificing everything so we can have high-quality lives. But this trajectory of motherhood and bringing my courage in through my own framework forced me to ask for help, set boundaries and put my needs first. Obviously we put our children first, we’re always protecting them. But I began to honor myself. To realize I can honor myself and my needs while managing motherhood felt really important. But that doesn’t happen overnight. It takes time to do that because we’re breaking out of old patterns from our family’s example. This is why, in ‘Dear Durga’ I tell a lot of stories about my grandmother, because she was a major influence in what I thought motherhood should look like.
Can this in turn create a healthier experience for the child?
Absolutely. You’re a demonstration to your children. Your children do not do what you say, they do what you do. I have daughters and a son, and I don’t want my daughters growing up thinking that when they get married or have kids and start a family, they have to clean the house all the time and never experience joy. I want them to see that Mommy can experience joy and fun and she can work, and she can do these things. It may not look perfect, but they can see that I can do all of these things without it costing my mental health and sanity.
Do you have a favorite story that you use in this book for reference?
It’s not my favorite, but the story about my grandmother’s death and the shock that my family and I felt stands out the most. She was the matriarch and anchor to our maternal line. So, when she passed away, it created chaos. As a little girl, it wasn’t until she passed away that I questioned: ‘Who was she? What was her life like?’ It allowed me to see what my grandmother was like outside of being a grandmother. When the funeral happened, I heard stories about how she sacrificed, whether it was for her education or her family. It gave me perspective on everything that went into my family coming to the U.S. But it also made me think, now that I have the privilege and the opportunity to change things, am I going to take advantage of that?
Liu champions personal growth and overcoming fear, emboldening us to find our courage, be vocal about our needs and refute the age-old myth that Indo Caribbean women must struggle to be successful. “Dear Durga A Mom’s Guide to Activate Courage and Emerge Victorious” is now available for purchase.