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Abstract
There is no denying the fact that the nature of the diaspora utterly depends on the nature of the
host country. Diasporas, instead of their common origin, may behave in a totally diversed
manner depending on the country of their re-location. The narrative of diaspora is significantly a
narrative of the “self”. In the modern context, the word “home” not necessarily connotes as
“self” of belonging and an individual sometimes seems to dwindle between “home” and
homeland. For Salman Rushdie, being Indian outside India is a daily questioning of the self.
There are also people like V.S. Naipaul, who travel because they are not at home anywhere. It is
also true in case of Rohinton Mistry. Leaving India behind is his own choice for better
perspectives in life. At the same time being a Parsi, the historical experience of double
displacement imbibed with the author’s sense of identification with an alienation from his new
and old homelands. The recollection of memories is one of the ways of expression in diasporic
writing. The expatriate builds a cocoon around herself/himself as a refuse from cultural
dilemmas and from the experienced hostility or unfriendliness in the new country. However,
Rohinton Mistry has subdued the difficulties of human relations between people with different
cultural identities. It is his art of balancing the realistic and mythical mode of his writing that
helps him in recovering his past in a totally new land.