Golden Breasts - “The River of Girls”
Tishani Doshi writes about girls’ “golden breasts held high/like weapons to the sky.” The adjective ‘golden’ suggests that the breasts are material indicators of feminism.
Mountains - “Monsoon Poem”
Tishani Doshi observes, “We forget how unforgivably those old poems/led us to believe that men were mountains.” Doshi disapproves of the ‘old poems’ for misinforming readers about the perpetuity of humanity that the mountains embody.
White - “Lament —I”
The speaker in “Lament-I” recalls, “The year I came to find work in the city,/my wife painted our house white/so it would be brighter than the neighbours. “The white paint generates stunning brightness that would make the speaker's house incomparable to the neighbor’s house.
Monsoon - “Lament —I”
Tishani Doshi discloses the dissimilar ramifications of the monsoon when she writes, “The monsoon finally arrived the year I left,/dripped through the thatch,/peeled paint off the walls./The wells grew full and overflowed./The farmers rejoiced in the fields.” On one hand, the Monsoon is convenient because it supports the blooming of farmers' crops. However, the Monsoon deleterious, to the speaker’s spouse, for it discolors the white paint she had applied on their house.
Forests - “The Immigrant's Song”
Tishani Doshi requests immigrants, “Let us not name our old friends/who are unravelling like fairy tales/in the forests of the dead.” The emblematic forests signify the large number of the immigrants’ comrades who perished during war.
