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This research paper tries to record the shared facets between Rohinton Mistry's Such a Long Journey and Firdaus Kanga's Trying to Grow. Both are promising young Parsi writers whose novels are wrapped in thick coverings of Parsi ethnic identity. Today, the Parsi community is facing extinction, and it is crouching in its own sacrosanct and inviolable corners to existing as best as possible with a halo of a break but not bent sort of dignity and hauteur. It is feared that they are on their way to extinction. Unless and until something urgent is done to augment their fast-depleting numbers and revive their religion, they will undoubtedly face oblivion. All visionary Parsis have voiced this perception. This research paper reciprocates the concerns and comments on them in the light of the two novels.

This research paper tries to record the shared facets between Rohinton Mistry's Such a Long Journey and Firdaus Kanga's Trying to Grow. Both are promising young Parsi writers whose novels are wrapped in thick coverings of Parsi ethnic identity. Today, the Parsi community is facing extinction, and it is crouching in its own sacrosanct and inviolable corners to existing as best as possible with a halo of a break but not bent sort of dignity and hauteur. It is feared that they are on their way to extinction. Unless and until something urgent is done to augment their fast-depleting numbers and revive their religion, they will undoubtedly face oblivion. All visionary Parsis have voiced this perception. This research paper reciprocates the concerns and comments on them in the light of the two novels.

Rohinton Mistry is one of the most celebrated new wave fiction writers of Indian writing in English. Mistry is a well-known name for his heritage fiction and Parsi consciousness. As being a Parsi, Mistry seems to be more concerned with his community and its diminishing numbers like their symbol bird vultures. Parsi is one of the most educated communities all around the world and famous for their sense of charities yet with each passing year this one of the oldest religious communities is facing the threat of extinction; and this threat put each and every Parsi writers on their toes to preserve their culture through their writings, and the fiction of Rohinton Mistry is also no exception to this thought. Mistry tried his level best to put Parsi life as it is with their core consciousness and dilemmas on paper. &nbsp

The images of Zoroaster and of his modern followers, the Ghebres (or Parsis), were used recurrently during the Enlightenment for critical purposes and essentially against religious fanaticism. This paper focuses on the image of the Ghebres in the last generation of the Enlightenment, that of revolutionary intellectuals who made the Ghebres into a case for the deconstruction of religion itself: Volney, who in his Ruines represents the Ghebres as displaying the typical contentious attitude of the religious, regardless of the fact that they were a persecuted group; Charles-François Dupuis and Sylvain Maréchal, both radical critics of religion and associates of Jerôme Lalande, atheistic astronomer and authoritative Freemason. Maréchal shows his interest from 1788, in his Notice on Persia in the Costumes civils actuels de tous les peuples, to 1800, when he lists this «peuplade» in his Dictionnaire des athées, citing as source Dupuis’ s monumental work Origine de tous les cultes, where the Ghebres provide evidence on the sources of religious opinions.

The article looks at Bapsi Sidhwa’s endeavours to depict the parsiness in her novels Ice-Candy-Man. It also looks at reflections of the people in the Indian subcontinent. Her novels Ice-Candy-Man, The Crow Eaters and An American Brat feature characters who have attained self-awakening or self-realization. The decision of a character in Ice-Candy-Man to hide her Parsi roots and identify herself as a Pakistani is analyzed. The intention of Sidhwa to show the Westernization of the Parsis is also discussed. Sidhwa’s characters show invincible courage in breaking loose from the customary and traditional practices of her community. She lets herself loose from such practices occasionally. The paper discusses the ways and manners of the minority class of Parsis. Many distinctive qualities of the class are lime lighted.

The article looks at Bapsi Sidhwa’s endeavours to depict the parsiness in her novels Ice-Candy-Man. It also looks at reflections of the people in the Indian subcontinent. Her novels Ice-Candy-Man, The Crow Eaters and An American Brat feature characters who have attained self-awakening or self-realization. The decision of a character in Ice-Candy-Man to hide her Parsi roots and identify herself as a Pakistani is analyzed. The intention of Sidhwa to show the Westernization of the Parsis is also discussed. Sidhwa’s characters show invincible courage in breaking loose from the customary and traditional practices of her community. She lets herself loose from such practices occasionally. The paper discusses the ways and manners of the minority class of Parsis. Many distinctive qualities of the class are lime lighted.

This paper intends to locate the self-instructed poet cum writer Gieve Patel's outlook as a playwright towards his own born and brought up Parsi community in terms of different terrains of human relationships, bondage and understanding through the notable plays, namely Princess (1970), Savaksa (1982) and Mr. Behram(1988). This secluded community of west coastal areas of India had been neglected in the country's mainstream linear progress all around and even they took a little part to play in making up uprising moments and events of this country since they were put into the brackets of 'colonial elites'. Still, the traditions and cultures of this community with their power of adaptation, negotiation and acceptance hurl back to present themselves as being unique in almost every parts in the society. These plays celebrate the vigorous situation of the then societal structure to which they belonged. The essential journey unveils with discovery of unfathomable psychological relationships and tensions among human beings under uneven facade of circumstances and carries forward through lucid yet critically framed the language - the spoken words, the expression of the characters. The awareness of feudalism-politics, male-centred power structure of the society, the dualism in nature - all these have come to fore through the portrayal of characters.

This paper intends to locate the self-instructed poet cum writer Gieve Patel's outlook as a playwright towards his own born and brought up Parsi community in terms of different terrains of human relationships, bondage and understanding through the notable plays, namely Princess (1970), Savaksa (1982) and Mr. Behram(1988). This secluded community of west coastal areas of India had been neglected in the country's mainstream linear progress all around and even they took a little part to play in making up uprising moments and events of this country since they were put into the brackets of 'colonial elites'. Still, the traditions and cultures of this community with their power of adaptation, negotiation and acceptance hurl back to present themselves as being unique in almost every parts in the society. These plays celebrate the vigorous situation of the then societal structure to which they belonged. The essential journey unveils with discovery of unfathomable psychological relationships and tensions among human beings under uneven facade of circumstances and carries forward through lucid yet critically framed the language - the spoken words, the expression of the characters. The awareness of feudalism-politics, male-centred power structure of the society, the dualism in nature - all these have come to fore through the portrayal of characters.

For centuries, fire has been a sacred symbol from the eastern cultures to western regions. As one of the four states of matter, fire represents the great essence in our daily lives as an energy source with its warmth, light and aura, kindling feelings of truth and spirituality within us. In his poetic verses, fire was venerated by Zoroaster who led mankind to believe that there is one supreme lord that we may follow; a being that can only be known by the quest for truth (Asha). For Zoroaster truth was symbolic with fire as it brought people together in prayer. With the passage of time fire became consecrated in different orders with the higher ones being placed within covered buildings for protection. These buildings became temples of fire or Fire Temples where an eternal flame was kept and looked after by a priest so as to keep alive the salvation of humankind and continue our journey towards righteousness with the blessings of the supreme. With this, faith stayed alive as long as the Fire burned. Herein lies my celebration of fire where I announce it to the follower on the path to truth as an eternal flame burning, yet resting in a place worthy of all its glory; an ambiance created to venerate the flame and reassure the traveler that its light has more to offer than meets the eye.