SummaryThis study addresses the women's identity crisis: Where are we going this summer? by Anita Desai. Her works significantly highlight the complexity of human relationships, especially among women, and also present different facets of the female psyche. It also features a variety of characters facing identity crisis in different situations and attempts to understand the difference between illusion and reality. The study mainly focuses on the emotional exploration of the inner spirit of Indian women and the mystical tensions of women searching for their identity in a male-dominated society. It also gives a biographical sketch of the eminent Indian writer Anita Desai. The novel is about time as a liquidator, as a preserver and what the slavery of time does to people. It describes Nanda Kaul's maternal feelings of humiliation and desolation due to lifelong alienation. the novel Where will we go this summer? It depicts the tension between a sensitive wife Sita and the rational Raman. The protagonist is a nervous and sensitive middle-aged woman who finds herself alienated. His feeling of alienation is due to his own emotional imbalance. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayIntroductionAnita Mazumdar Desai was born on June 24, 1937 in Mussorie, a hill station north of Delhi, as the daughter of a DN Mazumdar, a Bengali businessman and his mother Toni Nine, of German origin. She grew up speaking German at home and Bengali, Urdu, Hindi and English at school and on the city streets. She said she grew up surrounded by Western literature and music, not realizing until she was older that it was an anomaly in her world where she had also learned Eastern culture and customs. She once wrote: "I see India through my mother's eyes, as a foreigner, but my feelings for India are those of my father, of someone born there." She had a composite mind inheriting a multi-religious, multi-lingual and multi-cultural tradition. , enjoying the familiarity with Christian, Muslim and Hindu cultures and the German, Bengali and English language. Desai prefers to focus more on the character or scene rather than going around it. Thus, she prefers the private world of the characters rather than the public world. Desai, like many of his European counterparts (Woolf, Cloude Simon, Michael, Buttor and Alain Robbie Grilled), is very concerned with developing a new command posture for the author. Desai does not consider a “preconceived conspiracy” to be true. This is because, she thinks, the plot is just an idea that occupies the subconscious. She prefers pattern and rhythm to plot and her characters are “the embodiment of an unexplained mystery”. Desai's novels mainly deal with female characters and are based on the problem of the position of women in their families. In Desai's works, women are confined within the cyclical parameters of the tomb-hearth. In his fourth novel, Where Are We Going This Summer? Anita Desai presents an intense identity crisis of the central character Sita, a sensitive woman in her forties. She is represented by her childhood on Manori Island twenty years ago. The past becomes a psychic residue in her "personal unconsciousness", the backdrop of her life and her obsessive preoccupation which gives her the strength to leave her home, her husband, her two children and the urbanized life of Bombay for the island of Manori, where she thinks she could live under a magical spell: she saw this island illusion as arefuge, protection. This would keep her unborn baby safe, magically. And then there would be the sea – it would wash away her frenzy, drown her. Perhaps the tides would also lull the children and transform them into smoother, gentler beings. The grove of trees would provide shade and protection. (WSWGTS 91) This vision is the motivating force that pushes Sita to leave her home, much to the dismay of her husband Raman, who sees the absurdity of the plan - a pregnant woman leaving for an unreal place as if bewitched: she had escaped from duties and responsibilities, from order and routine, from life and the city, towards the unlivable island. She had refused to give birth to a child in a world unfit to welcome this child. She had the imagination necessary to offer him an alternative: a life not lived, a bewitched life. (WSWGTS 128) Sita is a rebellious and non-conformist woman, disgusted and trying to free herself from patriarchal norms. As a new woman, she too seethes with discontent at the thought of being confined within the “four walls” of her house with the behavior expected of an ideal “mother” and “wife.” In protest, she creates her own niche, escapes to the island she desires, "Manori", in search of the status of an "independent woman", separated from the "male", freed from the patriarchal slavery, wanting to be a woman as an independent existential being. She's adjusting in her husband's house, but that doesn't mean she's struggling financially or being mistreated. But the feminist woman in her makes her despise her status. While pregnant with her fifth child, she was unhappy, apprehensive about losing her innocence in this world where nothing other than “food, sex and money matters.” Sita's problem seems to be due to a poor adaptation with her. husband; life at home and the surrounding atmosphere make him nauseous. She has had enough of her husband, a businessman, whose utter insensitivity is driving her to the brink of madness. A profound change is taking place in Sita, proud mother of four children: Four children with pride, with pleasure - sensual, emotional, Freudian, of all kinds - with all the placid serenity that supposedly accompanies pregnancy and childbirth. Her husband was therefore perplexed when, for the fifth time, she told him that she was pregnant, she did so with a display of rage, fear and quite paranoid revolt. He addressed her with a disgust that told her it didn't suit her – a woman now in her forties, graying, aging, to behave with such a complete lack of control. Control was an accomplishment that had eluded him. (WSWGTS 29) Tragically, her dream of getting her husband's love and affection ends in a nightmare. The problem is that her husband ignores her instincts. She likes that he treats her with gentleness and tenderness, which he cannot do. As a result, in the long run, the husband-wife relationship finds itself embroiled in difficulties which manifest in the form of an identity crisis, as both Raman and Sita represent binary oppositions. Raman is a social being, more accommodating, apathetic while Sita is hypersensitive, an introverted and pessimistic personality. Not only does she hate Raman for his lack of sensitivity, but she also mocks the "subhuman placidity, calmness and slowness" as well as the routine manners of her husband's family. In response, she speaks with rage and anguish and with “sudden surges of emotion.” In order to find a way to escape, she takes up smoking, abuses her children over trifles, and gets angry when the servants speak. in the kitchen because she thinks they are arguing. Finally,.