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Rohinton Mistry law’s earnest yet aggressive bedside devotions in the disturbing scene in which Yezad’s prayers and Daisy’s music seem to do battle over the mute, prostrate elder (FM, 433–5). Formally, the concern for past-present connections is played out through repetitions: Yezad comes to repeat Nariman’s father’s inflexible religious dogma; Murad’s non-Parsi girlfriend threatens a repeat of the parental estrangement of the earlier generation; and, at one point, Yezad unfairly accuses Roxana of neglecting the rest of her family in favour of her father, paralleling
‘ultimate reality’, again, a ‘religious truth’ clearly unconfined by traditional religious dogma. In answering the third question concerning the nature of the relation between religion and poetry Thomas’s answer is implicit in the foregoing responses: the relation between religion and poetry is, for Thomas, clearly organic. The individual’s subjective experience of ultimate reality itself becomes the natural stuff of poetry. Indeed, according to his own definitions, to cast off the ‘religious frame’ chapter6 28/1/05 1:33 pm Page 154 154 Expanding deity for poetry