"...memories are woven from gossamer threads; time eats holes in the fabric, and these she must darn with myth and fable." (metaphor, page 15)
At the beginning of the text, Big Ammachi attempts to tell the story of her life and family to her namesake, Mariamma. She compares the story of her life to a tapestry, and her memories the threads that create it. Comparing Big Ammachi's memories to "gossamer threads" highlights how fragile and precious her recollections are, giving the reader insight into how Big Ammachi views her life. The metaphor then compares the passage of time, during which Big Ammachi forgets details, to a creature that "eats holes" in the fabric, meaning that at the end of her life, Big Ammachi does not remember all the details of her past, and recognizes that important parts of her story will not be conveyed. However, she decides to "darn," or stitch back together, these missing fragments of memory with "myth and fable," cluing the reader in to the idea that the following narrative contains fictional elements meant to convey Big Ammachi's sense of wonder and serendipity.
"...peeled off his past like a soiled glove." (simile, page 93)
When Digby arrives in India, he attempts to reinvent himself, forgetting the traumas he experienced in Glasgow, particularly his mother's suicide and the anti-Catholic prejudices that stunted his career. The text describes this process of Digby disassociating himself from his past by comparing it to peeling off a "soiled glove." The use of gloves as an image has a double resonance; first, because gloves are attire used in cold weather, like in Scotland, Digby feels his memories are useless in the tropical Madrasa and will only hold him back. Secondly, as a surgeon, Digby uses gloves when operating, which he discards when they are soiled for hygiene purposes. Thus, by comparing his past to a "soiled glove," the text confirms that Digby believes by reinventing his life, he has done the work of healing himself, and the past has the potential to contaminate his work, like a dirty glove in an operating room. Lastly, this simile reveals Digby's false perspective that the past is impermanent and inessential to his personhood.
"The door into her daughter's future has been pushed open. The view is crushing." (metaphor, page 192)
When Rune explains to Big Ammachi that Baby Mol's disability is permanent, Big Ammachi envisions her daughter's future limitations through the metaphor of an open door and a view beyond. The knowledge Rune provides is similar to opening a door, as it provides access to great understanding. Before a young priest questioned what was "wrong" with Baby Mol, Big Ammachi hadn't noticed her daughter's differences, as they family was enclosed in their own isolated world, represented by their home. Big Ammachi, whose world is restricted to Parambil and its surrounding areas, struggles to picture the life her daughter can hope to lead, as to her, safety and success are only achieved through education or marriage, which are both unavailable to Baby Mol. Throughout the text, "views" of the natural world are emphasized as opportunities for personal growth and an expanded understanding of the future. For example, Elsie asks Philipose to cut the plavu tree to reveal the wonderful view beyond, which symbolically represents their hopeful future.
"...warriors fighting shoulder-to-shoulder against a common foe," (metaphor, page 255)
When Rune sees Digby's wounds after his accident, Rune views Digby differently from his other patients. Since both Digby and Rune are surgeons, Rune equates their relationship to comrades in a war, as both men share values, skills, and the goal of healing others. The "common foe" in Rune's metaphor is Digby's burned hand, which may prevent him from ever performing surgery again. As equals, they collaborate to develop a surgical plan. The war imagery in this metaphor emphasizes the potential stakes of Digby's recovery (he will be able to save lives if he is healed), the emotional intensity of the experience, and the unspoken connection between the two surgeons.
"Digby's left hand, now his dominant one, moves with the precision of a pickpocket on the Saint Enoch railway platform." (simile, page 412)
When Digby performs Lizzi's emergency surgery, his left hand is described as moving "with the precision of a pickpocket on the Saint Enoch railway platform," referencing a historically crime-ridden train station in Digby's native Glasgow. By comparing his prized skillset, surgery, to the seedy locations of his youth, this metaphor demonstrates how, despite his attempts to distance himself from his past mistakes and marginalized Catholic heritage, Digby's background and mistakes inform his present life. Additionally, his choice to use his left hand rather than continue to rehabilitate his right demonstrates his acceptance that the traumatic events he experienced in Glasgow and Madras paved the way for his medical skill and thoughtful bedside manner. He no longer needs to hide his disability, mistakes, or humble origins. Ironically, accepting the limitations of his injury, his responsibility for Celeste's death, and the gruesome and complex nature of his mother's suicide, is what allows Digby to heal himself and others.
