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Generally, at the depiction of their immigrant woman's discussions with the New World, Bharati Mukherjee's treatment of the past spacetime becomes necessary. Normally, her books portray the past spacetime as a circumscribing space that has to be escaped to be able to (re)build identity. For example, at Wife, Mukherjee depicts Dimple's inability to escape from the past as a inability to transform into an American individual with got the agency to establish itself. On the other hand, in Jasmine, the protagonist nearly entirely disturbs her past and her Indianness to ease her transformation and assimilation in the us. Both novels depict the past as a constricting spacetime. Nonetheless, in Desirable Daughters, instead of depicting the past within an essentialist, fixed thing which thwarts the conversion of identity, Mukherjee highlights the active involvement of their last spacetime in (re)defining individuality. Mukheree's brand new artistic vision contrasts Homi Bhabha's theory of the performative space, whose dynamicity challenges pedagogical fixity and leads to the constant (re)structuring of the two individual identities and nation-spaces. Meanwhile, the Mukherjee's new remedy of this last spacetime resolves some of those dialectical strands of her artistic vision. To delineate the dissolution of these dialectics, this article traces Mukherjee's portrayal of the past spacetime, first as a essentialist entity, then as a fluid metaphor, and finally as a ambivalent entity that helps the protagonist redefine her individuality. In the process, critics that brush off Mukherjee's books as using an Orientalist vision could possibly be made to rethink her aesthetics as well as her novels. Key Terms: Bharati Mukherjee, Desirable Daughters, identity, Orient...