The theme of rebirth is explored in both literal and metaphorical ways in Jasmine. While literal language conveys facts, figurative language is used to create specific effects, often being exaggerated, embellished, or used to express complex ideas. The opening line, "Lifetimes ago," hints at the many transformations the protagonist has gone through. Mukherjee consistently highlights this theme, connecting fictional events with their deeper meanings. The narrator observes, "There are no harmless, compassionate ways to remake oneself," and, "I picked [Sam] up and held him. Truly I had been reborn."

Jasmine undergoes numerous life changes, representing metaphorical rebirths. Dr. Mary Webb discusses her belief in literal rebirth, or reincarnation, with Jasmine. Mary claims she was a black Australian aborigine in a previous life and can speak tribal languages when channeling this past identity. Her guru, MaLeela, inhabits the body of an abused, suicidal Canadian woman. Mary likely shares her beliefs with Jasmine because of Jasmine's Hindu background, knowing that Hindus believe in returning to the world repeatedly. Jasmine admits, "Yes, I am sure that I have been reborn several times, and yes, some lives I can recall vividly."

This blurs the boundary between the figurative and the literal. Jasmine never details these past lives. When she considers the concept of an eternal soul, she reflects on different phases of her current life at twenty-four: her childhood in Hasnpur, her happy time in Manhattan, and her life in Baden, Iowa. Are these the past lives she wants to discuss with Mary Webb?

This blending of the literal and figurative highlights the importance of the metaphors. It suggests that Mukherjee views the experience of self-reinvention as so impactful that it feels tangible.

Intricately connected to the theme of rebirth is the concept of identity, which is a consistent motif in Jasmine, weaving through every element of the narrative. The protagonist’s name serves as the clearest symbol of identity. Upon marrying Prakash, a progressive Indian man, Jyoti transforms into Jasmine. Lillian Gordon calls her Jazzy, Taylor refers to her as Jase, and Bud Ripplemeyer christens her Jane. Each name represents a new identity, akin to a rebirth, accompanied by distinct personality traits.

The narrator observes, "I shuttled between two identities." Both Jasmine and other characters often speak of these fragmented identities in the third person, as though they exist independently. She notes, "Jyoti of Hasnapur was not Jasmine."

Prakash insists, "You are Jasmine now. You can't jump into wells." He describes Jyoti as feudal and desires for Jasmine to address him by his first name, rather than using the customary pronoun women typically use for men. This new identity fosters a sense of equality between husband and wife in a patriarchal society.

Jasmine seems to prefer the name Taylor gave her the most. "Jase was a woman who bought herself spangled heels and silk chartreuse pants." Each of Jasmine's identities has its own set of characteristics. "Jyoti would have saved...Jasmine lived for the future, for Vijh & Wife. Jase went to the movies and lived for today..."

The theme of identity is also connected to location. Jasmine's name and identity evolve with each new place she resides. The only exception is Flushing, New York, where the narrator's name is never revealed. While Jasmine developed a distinct identity in every other place, the Flushing apartment building, filled with Punjabis, did not represent a notable transformation.

The debate between Hinduism and Western notions of self-reliance presents a stark contrast. Those who embrace predestination believe a higher power dictates all events, while advocates of free will argue that individuals can influence the course of their...

Sex and power are deeply intertwined in Jasmine's life. As a Punjabi peasant woman, she is expected to maintain a submissive role towards men. In her native land, she is anticipated to serve a male-dominated society. This dynamic is apparent even in her relationship with Prakash, a progressive Indian man. There is no expectation for Jasmine to pursue education or work to fulfill their mutual aspirations. Instead, she supports Prakash’s education and career. Jasmine carries this perspective to America, where she spends five months in Flushing adhering to Professorji’s plans. She even kisses his feet when he agrees to help her secure a green card.

Jasmine reflects, "I have had a husband for each of the women I have been. Prakash for Jasmine. Taylor for Jase. Bud for Jane. Half-Face for Kali."

Mukherjee presents sex as an act capable of altering the power dynamic. Prakash encourages an open exchange of ideas with Jasmine. However, being nine years her senior, he frequently asserts his intellectual dominance. Mukherjee contrasts a scene where Jasmine is intellectually outmatched with one where the couple is engaged in passionate intimacy. Prakash says, "Jasmine...help me be a better person."

Taylor, another sensitive and liberal man, pays Jasmine's salary and offers her food and shelter. Despite advocating for equality, Jasmine does not see him as an equal until the night they consummate their relationship: "I am leading Taylor to a bed as wide as a subcontinent, I am laying my cheek on his warm cheek, I am closing his eyes with my caregiving fingertips, I am tucking the mosquito netting tight under his and Wylie's king-sized mattress." In this moment, Jasmine gains power over her male counterpart.

Bud, despite his disability, remains the head of the household and a community leader. However, in sexual matters, Jasmine is entirely in control. "It shames Bud that now, for sex, I must do all the work, all the moving, that I will always be on top."

With sex comes power, and with power comes violence. Half-Face assaults Jasmine on her first day in America and is likely to do so again. She might not survive his brutality. She kills him, not out of revenge, it seems, but out of fear.

The astrologer predicts Jasmine's exile. Throughout the novel, Mukherjee consistently emphasizes Jasmine's feelings of isolation as an immigrant in a foreign land. One of the most notable moments of this is when Taylor sends her a postcard depicting the wife of a revolutionary who is living among unfamiliar people.

Mukherjee often returns to the metaphor of the imaginary window shade that Jasmine lowers to block out the world: "Taylor the Rescuer is on his way here. He taught me to yank down that window shade."