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Analyzing "Sapay Koma" by Cruz

This summary provides the key details and events from the long creative non-fiction piece in 3 sentences: The story describes the narrator's relationship and marriage to a young man from an Igorot family in the Cordilleras, against his parents' wishes. They marry secretly but face tensions living together in the family home, as the narrator is an outsider who does not speak the local language or understand the cultural traditions. The marriage is strained and difficult, reflecting the challenges of bridging different cultures and gaining acceptance from the groom's family.

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0% found this document useful (0 votes)
101 views10 pages

Analyzing "Sapay Koma" by Cruz

This summary provides the key details and events from the long creative non-fiction piece in 3 sentences: The story describes the narrator's relationship and marriage to a young man from an Igorot family in the Cordilleras, against his parents' wishes. They marry secretly but face tensions living together in the family home, as the narrator is an outsider who does not speak the local language or understand the cultural traditions. The marriage is strained and difficult, reflecting the challenges of bridging different cultures and gaining acceptance from the groom's family.

Uploaded by

taffyta
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Creative Non-Fiction

Module 5

Explore

You are going to read a Nonfiction story by Jhoanna Lynn Cruz which won 3 rd
Prize (Essay in English) at the Don Carlos Palanca Memorial Awards for Literature 2008.
After reading it, you are going to analyze the elements of the story through filling out the
necessary boxes with your own analyses.

Remember that you are doing an analysis, so you must use your Higher Order
Thinking Skills (H.O.T.S).
Sapay Koma

By Jhoanna Lynn Cruz

“I looked at Maria and she was lovely. She was tall…and in the darkened hall the fragrance of her was like
a morning when papayas are in bloom.” –Manuel Arguilla

On our first Valentine as a couple, he gave me a bowl of white nondescript flowers.


They had a distinctly sweet but faint scent. I had never been a fan of Valentine’s Day nor
of love like a red, red rose; but that day, I became a believer. He told me they were papaya
blossoms from his mother’s garden. At that moment, I knew I would one day marry him.
We had started dating only three months ago, but I knew I would be Maria to his Leon.
Why, he even had a younger brother the same age as Baldo! And even though they didn’t
live in Nagrebcan nor owned a carabao, the town of Itogon, Benguet was remote enough
for me. I have always enjoyed teaching the Arguilla story for its subversive take on the
role that one’s family plays in a marriage; but having been born and raised in Pasay City,
I had no idea what papaya blossoms smelled like. I imagined that my new boyfriend had
read the story in his Philippine literature class and meant for me to recognize his gift as
an allusion. In fact, I imagined we would defy societal norms and prove that love
conquers all. Instead of a “theme song,” our relationship had a story to live up to. It was
a disaster waiting to happen.

In the story, Leon brings his city-girl wife, Maria, home to meet his parents for the
first time. His surly father orchestrates several tests of Maria’s suitability through Leon’s
younger brother Baldo, who is quickly won over by her papaya blossom scent.
The first time I met his parents was on the wedding day of his eldest brother. By then, we
had been seeing each other discreetly for seven months, somehow knowing that no one
would approve of our relationship. In the midst of the beating of gongs and best wishes,
his Kankanaey father only wanted to know two things about me: where I was from and
what language I spoke. I gave the wrong answer on both points. I was a Manileña and I
couldn’t speak Ilocano yet, having only recently moved to Baguio City to rebuild my life
after becoming disillusioned with the institution that had once nurtured my desire to
excel. But no love lost, I was only their son’s “gayyem” (friend), after all. It didn’t help
that I was wearing a leopard print spaghetti-strapped dress, which exposed the tattoo on
my back. I reasoned that the Cordillera culture has a long tradition of body art; so they
should appreciate the significance of mine. None of us knew at that time that I was
already carrying a half-Igorot child in my womb (which, I imagined, somehow made me
an acceptable quarter-Igorot for the nonce).
Against better judgment, we decided to get married. We were under the influence of
hormones, of pregnancy, of the Catholic church, of Manuel Arguilla. We would have
gotten a quickie secret wedding if he were old enough, or I, wais enough; but by law we
needed his parents’ consent. Which they refused to give. For perfectly good reasons.

2
They could have said, “You shouldn’t marry because he is too young” (and you are ten years
older). Or “You shouldn’t marry because he is still studying” (and you were even his teacher). Or
“You shouldn’t marry because he has a calling” (and you are snatching him from God).

But instead his mother said, “We can’t give you permission because his brother
had just gotten married. In the theology of the Cordilleras, if siblings marry within the
same year, one of the marriages will fail. The community will blame us if we allow you to
marry.”

So I called my mother, who promptly came to my rescue, writing them a demand


letter based on a fallacy: “If your child were the woman in this situation, you would rush to marry
them!” I’m sure she was so eager to get me married off because she knew it was a fluke.

What was most ridiculous (though I refused to see it at that time), was that I was
a self-proclaimed lesbian feminist. Despite all the tragic relationships I had had with
women, I still believed that it was worth fighting for the right of a woman to love another
woman. What business did I have getting married to a very young man? And for all the
wrong reasons. Must have been oxytocin overdose sponsored by the baby in my womb.
Or a planetary alignment exerting mysterious forces on my consciousness. Or, gasp—
Love!

Whatever it was, it came to pass. My mother didn’t have to bring my grandfather’s


rifle. But I had to do it all on my own: filing the license, finding the Judge, buying the
rings, reserving a restaurant, paying for everything. It was a good thing his parents didn’t
allow us to tell anybody about the marriage – that way I didn’t have to invite anyone — which
lessened my expenses. I had to understand that they had spent all their savings for his
brother’s recent wedding, where they had butchered eight pigs for a traditional Igorot
wedding feast. And after all, lest we forget, we were getting married against their will. But
hey, there they were, on hand to sign the marriage certificate in the sala of the Honorable
Judge Fernando Cabato of La Trinidad, Benguet.

The ceremony itself was quick – but peppered with omens. First, when the court clerk
asked for my mother-in- law’s name, I told her “Constancia” – because I figured that was
where her nickname “Connie” came from. When I asked my nervous groom, he agreed.
When the Judge confirmed the information, “Constancia” objected because her name is
actually “Conchita.” Judge Cabato made the correction and lectured us about how
important it is not to make errors in a legal document. Then, when it came to my father-
in-law’s name, the Judge refused to believe that “Johnny” was his real name.

When he asked for the rings, my groom gave him the little box, but when the Judge
opened it, it was empty. The elderly honorable Judge sat down and asked, “Is this a
prank?” It turned out that the rings had slipped out of the box and were floating in my
groom’s pants’ pocket.

3
When it was time for the wedding kiss, the Judge “got even” with us. He
pronounced us husband and wife and then said, “No more kissing, it’s obvious there’s a
deposit in there!” Then he laughed hearty congratulations. I wonder now how many
times he has regaled a party crowd with our story.

At the reception in a Chinese restaurant, we occupied only one round table, with
only ten guests. The pancit canton was very good. We didn’t get any gifts, except for a
framed copy of 1 Corinthians 13: “Love is patient, love is kind… love does not keep a record of
wrongs…” It wasn’t the wedding of my dreams, but the whole event cost me only Php
2,500. It was as do-it-yourself as DIY could get. That didn’t include the cost of the
wedding rings, for which I had to sacrifice some of my old gold jewelry. The irony of it
escaped me at the time; but for a modern woman on a budget, there was no room for
finesse.
Thus we began our married life: full of contention, confusion, and concealment.

We couldn’t live together immediately; nor was I allowed to be seen in their little
neighborhood, where everyone knew everyone. A very pregnant stranger ambling up and
down the steep Upper Mangga Road would have been a conspicuous mystery. I continued
to live alone in my apartment, with my husband staying weekends, and I pretended in
school that my husband is from Manila. I’m not sure anyone actually believed the drama,
but I was bathing in first-baby-love, so I couldn’t care less.

My other Igorot friends assured me that when the baby is born, my in-laws would
finally accept me as the mother of their grandchild. But as I said, I couldn’t care less. I was
a Manila girl – I truly believed that our marriage would succeed even without his parents’
approval of me. I was used to flouting norms and not needing anyone. And for his part, my
husband argued existentially that we should live by the integrity of our own little family. You
see, he was a Philosophy major under the tutelage of two young Jesuit-educated
instructors, who had come to the mountains from Manila to indulge their fantasies about
love and teaching (in that order). We, the migrant teachers, smiled at each other in the
College of Human Sciences silently acknowledging each other’s foolishness; ignoring the
fact that most of the other “native” faculty members looked askance at the three of us.

When our daughter was born, we decided it was time to move into the family home.
In the innocent presence of the new half-Igorot baby, all would be forgiven. It seemed the
most practical thing to do. But I soon realized how naïve we were. We didn’t take into
account all the new wrongs that could be committed while sharing one household.

Before I got married, I had a dog – a black mongrel I had named “Sapay Koma,” which
is Ilocano for “sana.” It is both a wish and a prayer – difficult to translate into English, unless
in context. Koma was my companion throughout the two years I had lived in my dank,
quirky apartment – the mute witness to the drama and dilemma preceding my decision to
marry. We took him along with us in our move, of course. But the five other dogs in the
new household didn’t like him all that much

4
and they all raised such a nonstop racket, none of the humans could sleep,
particularly the newborn baby.

The neighbors offered to buy him for Php 500. Igorots like black dogs because the
meat is tastier. I was aghast. He was my dog, my loyal friend. If anyone was going to eat
him, it should be family. So my husband invited his friends over to put Koma out of his
misery.

I locked myself in our little bedroom with the baby, while they did it. But despite
the closed windows, I could still smell the burning hair and later, the meat cooking. The
putrid scent seemed to stick to my nose for days after, accusing me of betrayal. I wept for
Koma and for all that was dying in the fire – all the wishes that had no place in my new
life. I decided that this was the price for what Filipinos like to call “paglagay sa tahimik.”

It took two hours for the meat to be tender enough to eat and when we all sat down
to dinner, I was glad they didn’t expect me to partake of the canine feast. Yet I did. I took
one mouthful, which I swallowed quickly without chewing, so I wouldn’t have to relish
the flavors. I may have had the stomach for it, but I didn’t have the heart. I only wanted
to show them that I respected their culture, even though in fact, I would never belong.
Also, I was hoping that this way, Koma would forgive me for having failed him, for
offering him as a sacrifice at the altar of my marriage. This way, we could be truly
together.

For weeks after, every time I overheard my husband reply “Aw, aw” to his father,
I would shiver at the prospect that we would have dog for dinner again. They had five
other dogs, after all. Luckily, it turned out that “aw” only means “yes” in their language,
Kankanaey. Besides, they only butcher dogs on very special occasions. Ordinarily, there
was always the savory chicken soup dish, Pinikpikan, which features a similar charred skin
aroma and taste. I was quite relieved to learn that his father did not require beating the
chicken to death with a stick before cooking, as is customary in the Igorot culture.

To this day, I have not been able to care for another dog. I do, however, have another
child. By the same man. Accidentally. It happened on Father’s Day, when we thought having
sex was a nice distraction from the confusion that arose from our growing discontent with
the marriage. When we found out about the pregnancy, we agreed, albeit reluctantly, that it
was Divine Intervention – a sign that we should keep trying to save the marriage.

It was not just the food that was strange. I couldn’t understand why everyday,
some relatives would come over and expect to be fed. I had not been raised in an extended
family, and even within our nuclear family, we pretty much kept to ourselves. In my
mother’s house, we were trained to share through “one for you, one for me, then stay out
of my bag of goodies.” You can imagine how I felt the day they served my Gardenia whole
wheat bread to the “relatives,” who promptly wiped it out, because my peanut butter was
delicious.

5
Not that I was being selfish. Aside from the fact that I didn’t have any bread for
breakfast the next day and the house being a ten-minute hike uphill plus ten kilometers
to downtown Baguio City, I fumed about not even being introduced to these relatives as
the wife of their son. They would introduce my daughter and her yaya, but I remained
a “phantom of delight” flitting about the house.

When I confronted my husband about the bread, he explained that in the Igorot
culture, everything belongs to the community. So, I took a permanent marker and wrote
my name on my next loaf of bread. It was a Saussurean signifier of sorts – and it was
unforgivable.

My father-in-law was a man of few words. In fact, my daughter was already two years
old when he decided it was time to acknowledge my existence and say something to me.
In the past, he would use an intermediary (usually my husband) if he wanted to get
information from me. It wasn’t too difficult because by this time we had already moved to
Manila and were living in my mother’s house – which was another disaster and another
story. It was Christmas Eve and we were spending the holidays in Baguio City. He was
watching a replay of a boxing match and I was playing with my daughter in the living
room. He asked, in Ilocano, “Do you have a VCD player at home?” I was so shocked I couldn’t
reply immediately. He repeated the question in Tagalog. It turned out he was giving us
the VCD player he had won in a barangay raffle. That night, as the entire family sang
their traditional “Merry Christmas To You” to the happy birthday tune, I felt I was finally
getting a fair chance to prove that I was worthy of being in their cozy family.

In our six years together, I can think of more instances in which our separate
worlds collided and caused aftershocks in my marriage. But none of it rivaled what I
thought was the worst affront to me. My mother-in-law is Cancerian, like me, so her
house is a pictorial gallery of her children and their achievements. She had a wall with
enlarged and framed wedding photos of her children. Through the years, her exhibit
grew, and expectedly, I and my husband didn’t have a photo on this wall. I figured it was
because we had not had a church wedding. In fact, when we told them I was pregnant
with our second child, they requested that we hold a church wedding already. They even
offered to share the expense. But I preferred to save my money for the birth of the baby.
However, given my theater background, I once tried to convince my husband to just rent
a gown and tuxedo and then have our “wedding” photo taken so we’d finally get on “The
Wedding Wall.” But he has always been the more sensible half of our couple.

One day, though, a new picture was added to the wall. It was a studio photo of his
eldest sister, her American husband, and their baby boy. It wasn’t “The Wedding Wall”
anymore; it was now the “Our Children and their Acceptable Spouses” wall. It was their
version of the Saussurean signifier. The message was loud and clear – to me and to other
people who came to visit.

I wonder now why it so mattered to me to be on that wall. I guess I felt that after
all those years, we had been punished enough for defying the culture. Maybe I

6
actually believed in 1 Corinthians 13. Or perhaps I also needed to be reassured that I was
indeed happily married.

I confronted my husband about it and demanded that he finally stand up for me


and our family. And he did – he wrote his parents a letter that made his mother cry and
beat her breast. We each tried to explain our sides, finally coming to terms with the bitter
past. They told me that they are simple folk and didn’t mean to ostracize me; that when
they agreed to the marriage, they accepted me as part of the family, no matter what. I
believed them. I told them I was never going to be the woman they had probably wanted for
their son; but that I am a perfectly good woman, most of the time. We tried to make amends.
Our family picture was up on the wall within three days. Our kids were quite pleased.

But it was too late. By then, my husband and I had been grappling with our own
issues for the past five years. He had gotten tired of my transgressions and sought solace
with his friends. After coming home late from another “Happy Hour” with them, I
screamed at him, “What happy hour? Nobody is allowed to be happy in this house!” It
was then we both finally realized that we had to face the truth about our marriage. By
the time his parents were willing to start over in our journey as a family, we had given up
on ours.

Most couples find breaking up hard to do. It was particularly hard for us because we had
to convince his parents that it was not their fault. On the other hand, I had to deal with
the fact that maybe my marriage did fail because of the “curse” of the superstition “sukob sa
taon” – that maybe we were wrong to insist on our choice. Yet on good days, I am pretty
sure it was a perfectly “no fault divorce,” if there ever was one.

“Kapag minamalas ka sa isang lugar, itawid mong dagat” goes the Filipino proverb.
Perhaps the salt in the sea would prevent the bad luck from following you. So today I live with
my two Igorot children in Davao City – fondly called “the promised land.” Everyone is
astounded when they learn that I had moved even though I knew only one person here –
who didn’t even promise me anything. I just wanted a chance to start over. When we
moved into this house, it had a small nipa hut in the backyard. The kids enjoyed staying
there during the sweltering hot Davao afternoons, especially when their Daddy called them
on the phone. But it was nearly falling apart and was host to a colony of termites that had
actually begun to invade the house as well.
My generous landlady soon decided it was time to tear down the structure. When I got
home one day, it was gone. All that was left was a dry and empty space in the yard; yet
everything looked brighter too. We missed the “payag;” but soon the grass crept into the
emptiness and we began to enjoy playing Frisbee in the space that opened up. It was a
Derridean denouement of sorts.
Last year, we spent our first Christmas without any family obligations. It was
liberating not to have to buy any gifts for nephews, cousins, in-laws. All the shopping I
did was for my children. I was determined to establish my own Christmas tradition with
them. I wanted to show them we were happy. I wanted them to grow up never having to
sing “Merry Christmas To You” ever again. I decided to cook paella for nochebuena as if
my life depended on it. I thought it was simply a matter of dumping

7
all the ingredients in the pan and letting it cook – like the aftermath of a failed marriage.
The recipe was so difficult I ended up crying hysterically, asking myself over and over, “what
have I done?” My kids embraced me and said, “Nanay, stop crying na.” But I couldn’t. It
seemed as if it was the first time I had let myself cry over what I had lost. I noticed though,
that the kids did not cry. Embarrassed with myself, I picked myself up from the river of
snot that was my bed and finished what I had set out to do
– as I always have. It even looked and tasted like paella, despite the burnt bottom. But next
year we’ll just order take-out from Sr. Pedro (Lechon Manok).

That night, my mother-in-law sent me a text message saying they are always
praying for us to get back together, especially for the children’s sake. I do not know how
to comfort her, except to keep saying that we had all done the best we could at the time;
that we are always trying to do the right thing; that despite what happened, or perhaps
because of it, we will always be a family. Of a kind. We are, after all, inextricably linked
by a timeless story and “sapay koma.”

Each of us in this story nurtures a secret wish to have done things differently – to
have been kinder, more understanding of each other’s quirks and shortcomings. But it
takes less energy to wish it forward. Sapay koma naimbag ti biagyodita — to hope that your
life there is good.

CNF based on the story. Remember to use your H.O.T.S in analyzing


the elements of the story. Do your best!

Characters: Plot:

Point of View: Allusion:

18
Flashback: Foreshadowing:

Imagery: Irony:

Mood: Moral:

Symbol: Theme:

19
Tone: Suspense:

20

Common questions

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The plot uses various symbols to convey themes of acceptance and belonging. One prominent symbol is the 'wedding wall,' where family photographs are displayed. Initially, the absence of a photograph of the protagonist and her husband signifies their perceived lack of legitimacy within the family due to their unconventional marriage. When their photograph is finally added, it symbolizes a sense of partial acceptance by the family. Another symbol is the act of eating dog meat. The protagonist partakes reluctantly, aiming to respect cultural norms and seek acceptance, reflecting the broader theme of attempts at cultural assimilation. The name 'Sapay Koma,' which holds dual meanings of hope and prayer, resonates throughout the narrative, symbolizing the protagonist’s longing for belonging and mutual understanding. These symbols effectively illustrate the protagonist’s complex journey towards acceptance in her in-laws' culture .

The protagonist's relationship with food serves as a metaphor for her internal conflicts and attempts at cultural integration. Food becomes a medium through which she negotiates her identity within her husband's Igorot family. Her participation in the consumption of dog meat illustrates her reluctant concession to cultural expectations, as she seeks to honor her in-laws' traditions while internally struggling with personal beliefs. Her meticulous preparation of paella as a solo venture reflects her desire to establish personal traditions and agency amid the cultural encroachment she experiences in her marriage. The tensions around communal eating and resource sharing further symbolize her struggles between individual ownership and communal expectations. Through food, the protagonist endeavors to balance her personal values with the cultural norms she encounters, illustrating a broader narrative about belonging and identity .

Cultural traditions significantly influence the protagonist's decisions about family and marriage, often creating dilemmas between her personal values and those of her in-laws. For example, the pressure to have a church wedding highlights the traditional expectations of the Igorot community, which values formal ceremonies. Her reluctance to have a church wedding stems from economic rationales and personal choice, yet it also inadvertently affects her integration into her husband's family. Another instance is her willingness to participate in cultural rituals, such as consuming dog meat, as an attempt to respect her husband's cultural heritage and strengthen familial bonds. These decisions underscore the protagonist's struggle to reconcile her individual beliefs with the cultural expectations imposed by her in-laws, influencing her perception and approach to family life .

The story highlights cultural conflicts primarily between the protagonist's Manila upbringing and her husband’s Igorot heritage. These differences manifest in practices like communal sharing of resources and cultural rituals related to food. The protagonist struggles with the expectation that all private possessions, such as her bread, are communal property for visiting relatives, which contrasts with her individualistic background. Moreover, practices such as the consumption of dog meat pose significant cultural and emotional challenges to her. These cultural conflicts create a persistent sense of alienation and challenge the protagonist’s sense of belonging, as she often feels like an outsider trying to fit into a community that doesn't fully accept her. Despite attempts to demonstrate respect for her in-laws’ customs, she contends with feelings of betrayal and exclusion, which are exacerbated by symbolic gestures such as not being included on the family’s 'wedding wall' .

The use of irony in the story significantly contributes to its themes of cultural clash and familial acceptance. One central irony lies in the protagonist's attempts to gain acceptance through cultural assimilation, such as consuming dog meat which she finds repulsive, yet these efforts still leave her feeling like an outsider. Furthermore, despite moving into the family home intending to foster unity, the ensuing conflicts and cultural misunderstandings highlight the difficulty in achieving true acceptance. Another ironic element is the addition of the protagonist and her husband's photograph to the family wall; by the time it occurs, the marital relationship has deteriorated beyond repair. These ironies emphasize the challenges of reconciling conflicting cultural identities and the elusive nature of belonging, underscoring the story’s themes of misunderstanding and reconciliation .

The interactions between the protagonist and her in-laws offer valuable lessons in cultural understanding and relationship building. Primarily, they highlight the importance of open communication and empathy in bridging cultural gaps. The protagonist's initial lack of understanding about communal ownership and traditional rituals led to misunderstandings and feelings of exclusion. However, moments of direct communication, as seen when the husband wrote a poignant letter to his parents, provided an avenue for expressing grievances and fostering mutual understanding. The story illustrates that while cultural assimilation efforts are significant, they must be complemented by genuine dialogue and empathy to build effective relationships. Additionally, it underscores the need for recognizing and respecting cultural differences to create a harmonious family dynamic, rather than imposing one's cultural norms onto another .

The protagonist grapples with her identity through a series of inner conflicts and cultural challenges while living in a culturally different environment. She faces the dilemma of adhering to her individual beliefs from her Manila upbringing versus adopting the communal and collective practices of her husband's Igorot culture. This tension is embodied in actions such as reluctantly eating dog meat to show respect for her in-laws' traditions, although it goes against her personal feelings. She also attempts to assert her identity through subtle defiance, like marking her loaf of bread with her name, an act perceived negatively by her in-laws. These incidents reflect her struggle in balancing the need for cultural assimilation while staying true to her core identity, ultimately leaving her feeling that she may never fully belong or be accepted .

The protagonist's decision to move to Davao City with her children marks a significant step in her journey toward self-fulfillment. Leaving behind the conflicting cultural pressures of her married life, she seeks a fresh start and the opportunity to redefine her identity independently. This move symbolizes breaking free from the constraints and judgments she faced, allowing her to establish her own household traditions and environment for her children. In Davao City, she experiences a sense of liberation, gaining autonomy over her and her children’s lives without the encumbrance of familial expectations. The new beginning in a place known as 'the promised land' provides an emotional and psychological space for healing and self-discovery, highlighting her determination to build a life on her terms .

The protagonist's relationship with her in-laws initially started with tension and lack of acceptance due to cultural differences and expectations. Over time, several events contributed to a gradual change in their relationship. For instance, after the birth of her child, the protagonist tried to integrate into her husband's family by respecting their cultural practices, even to the extent of participating in cultural rituals such as consuming dog meat to show respect. Eventually, a critical moment of reconciliation occurred when her husband wrote a letter that deeply moved his mother, facilitating open communication and some reconciliation. The inclusion of the family photograph on the in-laws' wall symbolizes partial acceptance. These changes were heavily influenced by factors such as the birth of the children, the protagonist's attempts at cultural assimilation, and direct confrontations that led to discussions of grievances .

The protagonist's perception of independence often collides with the communal culture of her husband's family, highlighting core cultural differences. Raised in a Manila family where personal space and possessions were respected, she struggles with the communal lifestyle, such as the expectation to share food and resources with visiting relatives. Her act of writing her name on her bread symbolizes her assertion of individual ownership, starkly contrasting with the ingrained communal mindset of her in-laws. This conflict is further exemplified by her experiences of being treated as an outsider to her husband's family and their cultural traditions, which do not align with her individualistic values. Her initial illusion of self-reliance and independence is challenged by the communal demands, leading to feelings of alienation and a reevaluation of her identity and role within the family .

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