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Throughout the novel, the symbols that identify each person as a member of a particular religious group gain more importance as Independence and Partition grow near. Finally, religious affiliation determines how each characters views and treats others. Previously happy neighbors become enemies overnight: Muslims murder Hindus, Sikhs murder Muslims, and Hindus murder Muslims. In the new Pakistan, men convert from Hinduism to Islam, changing their names, their clothing, and their hairstyles in addition to getting circumcised, as exemplified by the Sethi’s gardener, Hari.
Lenny describes this change: “And I become aware of religious differences. It is sudden. One day everybody is themselves—and the next day they are Hindu, Muslim, Sikh, Christian. People shrink, dwindling into symbols” (101).
Because of a childish misunderstanding, when Lenny hears that India might break or crack, she is afraid of a literal breaking of the land. She imagines a crack appearing under her house or blocking her from Godmother’s house. It becomes a symbol of small, seemingly harmless tensions that eventually erupt into full-scale destruction. The minor differences in religious ideology, the small insults, and the religious jokes are cracks in the idea of a unified India. But the cracks compound upon each other and grow larger over time. Small insults and jokes turn into prejudice and dehumanization, opening the door for extraordinary acts of violence perpetuated by ordinary people. Sidhwa uses the symbolic image of “cracking India” to describe the political and social upheaval that occurred during the creation of an independent India and Pakistan (101). This image symbolizes the brokenness between the two countries, and it reflects the damaged relationships among the ethnic factions, including the complicated mixture of majority- and minority- Hindu and Muslim cities and countryside, along with permanently minority ethnicities such as the Parsees, who practice Zoroastrianism.
In a literal way, India as a country is actually broken apart into two countries. In Lahore, Lenny sees the impermanence of her world when flames engulf the marketplace and a mob parades a dead child, waving her body impaled on a spear like an obscene flag. The cracks go outward and inward, as we see when Lenny rips her dolls in half, reenacting the violence. Breaking away and the birth of a new nation sound clean and hopeful, but Ice Candy Man shows the viciousness underneath.
Affected by polio that she contracted as a baby, Lenny’s right foot is twisted and her leg muscles have deteriorated. Throughout the novel, Lenny plays on her disability for sympathy, treats, and other special treatment. She does not want her legs to heal because they gain her so much attention and sympathy. However, Colonel Bharucha straightens her foot through a series of casts and a surgery. Massage and activity stretch her leg and foot into their prior appearance. As she heals physically, step by step, Lenny learns to replace sympathy with participation in her world.
Instead of retreating into a fantasy world, as she does as a child to escape her reality or to use her reality to gain advantage, Lenny learns to confront the world as it is. Her disability becomes less central to her identity as she grows older and more sexually aware. She is no longer afraid that no one will love her without her limp. Her experiences with her Cousin are central to her eventual maturity. For example, Cousin insists that Lenny learn about his genitals, whether she wants to or not, and later he offers her love and marriage.
At the beginning of the novel, Ayah brings a very young Lenny to the zoo and leaves her pram in front of the lion’s cage. Although Lenny knows that the lion is caged and toothless, he haunts her dreams for years. Eventually, the zoo gets lion cubs and Lenny knows that they will grow up to be terrifying as well. The lion represents a latent threat that is only dormant as long as safety measures—the cage, the zookeeper’s strength, or the goat keeping the lion from being too hungry—hold up. Sikhs, Hindus, and Muslims use the idea of forestalling a latent threat to justify their murder of innocent, helpless villagers—though of course, like the toothless lion, the majority of people in India pose no real threat to the extremist mobs.
In Hamida’s story, a tiger in a painting comes alive to eat the son of a king because of an inescapable prophesy about the king’s bad karma. This tiger represents the cruel vagaries of inevitable fate—a belief that excuses the violent acts men perpetrate against women. Hamida accepts as fated that her rape means her family and children must shun her: For her, there is nothing to do, since, “What can a sorrowing woman do but wail?” (273). Similarly, Godmother tells Ayah that her kidnapping and rape was fate and she can only move on. Only Lenny refuses to accept this, blaming the men for their actions instead.
When Imam Din catches a giant black cat that has been sneaking in to steal food, he is prepared to kill the animal. The helpless cat spits and hisses in desperation, until Mother intervenes, hitting Imam Din with a flyswatter—a tiny, weak weapon—hard enough to draw blood. It’s notable that while doing this, Mother, who has put her own safety on the line to rescue kidnapped women, refers to the cat as a “she.”



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