AbstractThis study deals with the identity crisis of women in where will we go this summer? by Anita Desai. Her works significantly highlight the complexity of human relationships, especially in women, and also show different aspects of the female psyche. It also features a variety of characters who face identity crises in different situations and attempts to realize the difference between illusion and reality. The study mainly focuses on the emotional exploration of the inner mind of Indian women and the mystical tensions of women seeking their identity in the male-dominated society. It also provides a biographical profile of 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 the period of alienation in her life. the novel Where shall we go this summer? It depicts the tension between the sensitive wife Sita and the rational Raman. The protagonist is a nervous and sensitive middle-aged woman who finds herself alienated. His sense of alienation is due to his emotional imbalance. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get Original Essay IntroductionAnita Mazumdar Desai was born on 24 June 1937 in Mussorie, a hill station north of Delhi, as the daughter of one DN Mazumdar, a Bengali Entrepreneur, and her 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 got older that this was an anomaly in her world where she also learned about Eastern culture and customs. He once wrote, "I see India through my mother's eyes, as a stranger, but my feelings for India are my father's for someone born there." He had a composite mind that inherited a multi-religious, multilingual and multicultural tradition. , enjoying familiarity with Christian, Muslim and Hindu cultures and with German, Bengali and English languages. Desai prefers to focus more on the character or scene rather than beating around the bush. So he prefers the private world of the characters rather than the public one. Desai, like many of her European colleagues (Woolf, Cloude Simon, Michael, Buttor and Alain Robbie Grilled), is very interested in working out a new leadership position for the author. Desai does not believe a 'preconceived plot' to be truthful. This is because, according to her, the plot is just an idea that occupies the subconscious. He prefers pattern and rhythm to plot and his characters are "the embodiment of inexplicable mystery". Desai's novels mainly deal with female characters and are based on the issue of women's position in their family. The women in Desai's works are confined within the cyclical parameters of the home-womb tomb. In his fourth novel, Where Shall We Go 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 unconscious", the background of her life, and of her obsessive worry that 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 he thinks he could have lived under a magical spell: he saw that illusionary island as a refuge, a protection. It would keep her unborn child safe, by magic. Then there would be the sea: it would sweep away her frenzy, it would have itdrowned. Perhaps the tides would also lull the babies, transforming them into smoother, softer beings. The grove of trees would shade and protect them. (WSWGTS 91)This vision is the motivating force that drives 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 she were haunted: she had run away 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 not suited to welcoming him. He had the imagination to offer him an alternative: a life not lived, a life haunted. (WSWGTS 128) Sita is a rebellious and nonconformist woman, disgusted by patriarchal norms and trying to break free from them. Being a new woman, she also seethes with discontent at being confined within the "four walls" of the house with the expected behavior of an ideal "mother" and "wife". In protest she carves out a niche of her own, flees to the desired island of "Manori" in search of a status as an "independent female" separate from the "male" freed from patriarchal slavery, wanting to be a woman as an independent existential being. She adapts well to her husband's house, but this does not mean that she has financial difficulties or is mistreated. But the feminist woman in her makes her dismissive of her status. When she was heavily expecting her fifth child, she was unhappy, apprehensive at the thought of losing her innocence in this world where nothing matters except "food, sex and money." Sita's problem seems to be due to the mismatch with her husband; domestic life and the surrounding atmosphere nauseated her. She is fed up with her husband, a businessman, whose total lack of feelings drives her to the brink of madness. A profound change occurs in Sita, proud mother of four children: four children with pride, with pleasure - sensual, emotional, Freudian, every kind of pleasure - with all the placid serenity that supposedly accompanies pregnancy and childbirth. Her husband was perplexed, so when she told him for the fifth time that she was pregnant, she did so with a rather paranoid display of anger, fear and revolt. He began to look at her with a disgust that made her realize that it was inappropriate for her - a woman now in her forties, greying, aging - to behave with such a total lack of control. Control was an outcome that had slipped out of her hands. (WSWGTS 29) Tragically, her dream of getting love and affection from her husband ends in a nightmare. The point at issue is that her husband ignores his instincts. She likes that he treats her in a kind and tender way, which he can't do. As a result, in the long run the husband-wife relationship gets dragged into difficulties which manifest in the form of identity crisis, as both Raman and Sita represent binary oppositions. Raman is a creature of society, more easy-going, apathetic while Sita is hypersensitive, an introverted and pessimistic personality. She not only hates Raman for his lack of feelings, but also mocks her husband's family's "placidity, calmness and subhuman slowness" and routine. To react to this, he speaks with anger and distress and with "sudden outbursts of emotion." To look for an escape, he starts smoking, abuses his children for trifles and gets angry when the servants talk. in the kitchen because he thinks they're arguing. Finally, like Stephen Dedalus in Portrait of the Artist as a Young Man, he chooses three things: exile, silence and cunning. All of this is the definitive rejection of the values ​​that her husband represents. He decided to go to Manori Island as a sort of self-exile in his search for identity. In silence and in her rebirth of the past, she is far from home and civilization, thus remembering Billy Biswas in.