Current constructions of multicultural and ethnic in Canada therefore foreclose an understanding, Mistry suggests, of the shifting complexities as well as multiplicity of identities within cultural communities.
Although the Firozsha Baag residential complex functions as the space that delineates Parsi identity, Mistry subtly blurs its boundaries through two types of movement: journeys that take the Parsi characters away from the enclosed, private space of the Baag and into the overcrowded, public spaces of the city where they interact with other Indians; and the incessant shuttling between India and North America usually Canada for reasons of education or migration.
He states: Experience of loss, marginality, and exile differently cushioned by class are often reinforced by systematic exploitation and blocked advancement.Mistry is sharp enough to put forward his message through his tremendous story. Thus, the Canadian policy of multiculturalism accords the mainstream culture the power to determine difference and normalcy. The narrator is Nariman Hansotia, who engages the kids of Firozsha Baag with his interesting stories. Sarosh succeeds in his adaptation in the new country every way except one: he is not able to defecate in the Canadian way — sitting instead of squatting. In a sarcastic tone, the narrator elaborates on how Sarosh develops some sort of a neurosis. Sharing stories and identifying with others who share common roots and similar dilemmas can help overcome feelings of victimization, eliminate personal blame, avoid sense of failure, generate critical consciousness and encourage self-reflection. Living between two countries can be fraught with tension, but it does offer a potentially productive site from which to challenge homogeneous narratives of the nation and its people. Savukshaw is a story to motivate the young listeners to work hard for what they want to do to strive for success. This constitutive suffering coexists with the skills of survival: strength in adaptive distinction, discrepant cosmopolitanism, and stubborn visions of renewal. And Sarosh sees himself signified as a racial other by the interpretive conventions applied to this space.
Where my parents live? Postcolonial anxieties take different forms, and their manifestations tend to be dissimilar.
On the other hand, success to Sarosh does have a strong connection to happiness, so does failure to unhappiness. The place I was born?
His story uses the oral narrative pattern that has been adopted by writers like Salman Rushdie — both as an Indian storytelling device and also as a postmodernist narrative technique.