46 pages • 1 hour read
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Smita and Mohan drive to their hotel depressed, but Smita finds satisfaction in Mohan’s privilege being challenged. She thinks of Abdul and his dreams for his daughter, Abru: Instead of becoming “the heir to a new, modern India,” Abru is instead a symbol of the worst of old India, “a country scarred by ignorance, illiteracy, and superstition” (160). Smita retreats into the bathroom of her hotel room and cries.
In Meena’s monologue, she elaborates on her love story. Abdul left her sweets, and once, when they were working overtime, they sat next to each other and talked. He insisted they were both Hindustani and that their religious differences didn’t matter. He asked Meena to sit with him by a river, and she worried he had the wrong idea about her. However, when she thought about what awaited her at home, she agreed to talk with Abdul.
Smita and Mohan go to the beach. He apologizes for the young boys who throw stones at them, and she says he is not responsible for everything in India. She feels she will never see this beach again. The trial verdict is delayed again, and Smita wants to return to the luxury of the Taj Mahal Palace Hotel. Mohan prefers to check on his parents’ home, which is only 90 minutes away by car. An annoyed Smita agrees to go with him.
In Meena’s monologue, she recalls her and Abdul sitting by a river and talking. They shared some chocolate he brought for her, and she was thrilled that he wanted her to eat first—even though women traditionally eat after men. She wondered which parts of him were Muslim and what made him a Muslim and her a Hindu. However, when Abdul asked Meena to marry him, she became angry at his challenge of tradition.
Smita and Mohan revisit Meena. Mohan buys groceries for Meena, and though Smita resists since this behavior is against journalistic ethics in the West, she realizes he read the situation correctly: These groceries will ensure her access to Meena and her mother-in-law. When Smita asks Meena about the factory, she feels like Meena is not being honest for the first time. Meena recounts telling her brothers about her love for Abdul, and Smita recalls her mother being shunned like Meena had been. Meena’s brothers wanted her virginity examined, but when she refused, she was forced to walk on hot coals to prove her innocence. The welts on her feet gave her courage to elope and marry Abdul. Meanwhile, Mohan seems anxious to leave. Smita uses a Muslim phrase to say goodbye, and he remarks on her good pronunciation. He is curious as to why her family left for America, as he would not want to live there. When she tells Mohan about Meena’s near-forced virginity test, his hand trembles on the steering wheel.
Mohan’s family home is a mansion, as his parents are diamond merchants. He and Smita are greeted by an older servant, who leaves to attend a family wedding. Mohan offers to make pasta for dinner.
In Meena’s monologue, she recalls her pregnancy and mother-in-law’s cold demeanor. When she told Abdul the news, he called the future child his daughter.
Smita and Mohan have become close, but she knows that once she leaves India, their friendship will fade. He refers to them as an old couple, but she does not take this comment in a romantic way. During a call with her father, who is still grieving the loss of his wife, she uses a Muslim greeting. Mohan overhears Smita and questions the greeting and why she is lying about being in the Maldives. She accuses him of eavesdropping, and he becomes angered at being told how to behave in his house. She admits she was born Muslim and that her original name was Zeenat Rizvi.
This section develops the tension between tradition and modernity, between Old India/New India. Smita passes a series of borders as she leaves her “modern” life in America and enters traditional rural India. Likewise, the Taj Mahal Palace Hotel is a hybrid space (Western and Indian) that romanticizes India’s imperial past (by Mughal and British forces) and Smita’s privilege. Smita’s next border is the hotel outside of Meena’s former village, where she is confronted by gender disparity. This place and the Hindu village itself are spaces of old India, where class and gender are strictly demarcated. Mohan’s family home is a space that belongs to new India, one that Smita equates to a mansion in Beverly Hills (192). Her and Mohan’s behavior seem to match that of a cosmopolitan life in that they casually spend the night together (albeit not romantically or sexually). Mohan speaks of them as an old couple, but she takes this in a non-romantic way (out of both denial and knowledge that men and women have platonic relationships).
Meena’s and Smita’s love stories continue to parallel each other, especially with the reveal of Smita having been born Muslim (like Abdul). When Meena revealed her love for Abdul to her brothers, they tried to force her to undergo a virginity test. When she refused, she was instead forced to walk on hot coals. Her husband, Abdul, had dreams of their daughter, Abru, uniting Muslim and Hindu people as “Hindustani”—a union of Urdu (the Muslim language) and Hindi (the Hindu language). He hoped she would be “the heir to a new, modern India,” but with his death, she instead symbolizes the worst of old India, “a country scarred by ignorance, illiteracy, and superstition” (160). Smita believes the prejudice of old India is caused by men who perpetuate communal hatred in the form of Izzat (Honor) and Patriarchy in the Indian Subcontinent (160). While some Family Dynamics and Secrets prove to be red herrings, such as Meena’s “dishonesty” (179), Smita’s use of a Muslim greeting with Meena’s mother-in-law and her own father does hint at her birth. She insists her Hindi is out of practice but has no problem using Urdu. Mohan picks up on this, commenting on her pronunciation and questioning why her family left for America—which culminates in the reveal of her having been born Muslim.
By Thrity Umrigar
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